CURRICULOM LB 1631 A28 1970 C. 2 ALTA ; 423 1970 GrlO-12 c.2 CURRGDHT ( CURR V 4 t# ;enior lglish literature 1 1 H LANGUAGE ENGLISH ovince of Alberta apartment of Education 1070 Digitized by the Internet Archive in 2012 with funding from University of Alberta Libraries http://archive.org/details/shsenglishlanglitcg70albe SENIOR HIGH SCHOOL CURRICULUM GUIDE for English 10 English 13 English Literature 11 English 20 English Language 21 English Literature 21 English Language 22 English 23 English 33 English 30 PROVINCE OF ALBERTA Department of Education 1970 ACKNOWLEDGMENT The Department of Education acknowledges with appreciation the con- tributions of the many committee members to the preparation of this Senior High School Curriculum Guide for English. The Guide has been prepared by these subcommittees: Experimental and the Ad Hoc, both of which operated under the guidance of the Secondary School Language Arts Committee and the Senior High School Curriculum Board. NOTE: This Guide is a service publication only. The official statement regarding the content of the course is contained in the Senior High School Program ot Studies. The information in the Curriculum Guide is prescriptive only insofar as the content duplicates that contained in the Senior High School Program of Studies. However, the Curriculum Guide contains .is well as content, methods of developing the concepts, suggestions for use of teaching aids and additional reference books. SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH TABLE OF CONTENTS Leisure Reading 4 English Materials for a Library Program 5 English 10 7 English 13 24 English Literature 11 38 English 20 40 English Language 21 55 English Literature 21 68 English Language 22 70 English 23 and English 33 79 English 30 114 Media Resources for English 30 130 Articles from the English Journal 133 Secondary References for High School English 135 English Reference Books 138 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH LEISURE READING The new English courses presently being implemented in the senior high schools require the students to read intensively a wider range of novels and modem plays than was the case previously. As a result, the Leisure Reading Program should be used to encourage, not force, students to read a variety of authors and types, as well as to read, in depth, a few authors and types. No specific number of books should be required. The value to be derived from written book reports is considered question- able by many authorities in the teaching of English. The teacher's personal enthusiasm and love of reading remains the most potent factor in encouraging students to read. Teachers are advised, then, to approach Leisure Reading in a variety of ways. It is hoped that some of the following suggestions will prove useful in broadening the reading horizons of senior high school students. 1. Teacher and/or students might give brief, appealing introductions to other books written by an author after one of his works has been discussed in class. 2. Teacher and/or students might suggest books with similar or contrasting themes and treatments after a novel or play has been discussed. 3. Arrangements could be made with the school librarian to take into the classroom books which the teacher wishes to recommend. The students are then aware of the appearance and availability of the books. 4. Periodically, three or four students could present a panel during which they discuss books which they found particularly interesting and/or informative. The teacher could guide the panel to prevent them from merely giving a summary of the story line. 5. Occasionally a portion of an English class could be allocated to open dialogue among all die students concerning books they wish to recommend. 6. Books-of-the-Month or Book-of-the-Week might be selected by teacher and/or students and featured in some way, e.g., the dust jackets and/or reviews could be posted on the classroom bulletin board. 7. The same procedure might be used to highlight Author(s)-of-the-Month. 8. Book lists could be left in the classroom and suggestions for purchases be placed in the librarian's consideration file. 9. If it seems desirable, the Free Reading Record Cards available from the School Book Branch could be used to retain a record of the books each student reads. 10. Magazines which include book reviews, criticisms and biographical information about authors should be available in the classroom to initiate students into the habit of becoming aware of, and interested in, what is currently considered important in literary circles. SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH ENGLISH MATERIALS Books and Pamphlets The following materials for teaching the use of the library are suggested to assist the librarian and teacher in the development of a library program. Note: Prices are subject to change. Boyd, Jessica Edna. Books, Libraries and You. (A handbook on the use of reference books and reference resources in the library.) 3rd edition. Scribner's, 1965. $3.60. Freund, Roberta Bishop. Open The Book. Scarecrow Press, 1966. $5.00. A practical guide for establishing a library education program in the school. How To Use The Library. Order direct from Gaylord Bros., Inc., 155 Gifford Street, Syracuse 1, New York. $0.14 single copy, quantity rates. How To Use The Readers Guide To Periodical Literature and Other Indexes. Order direct from H. W. Wilson Company, 1967. Reasonable quantities for class use are free. Rossoff, Martin. Using Your High School Library. 2nd edition. Order direct from H. W. Wilson Company, 950 University Avenue, Bronx, New York 10452, 1964. $1.00. A manual for teaching units. Toser, Marie A. Library Manual. 6th edition. Order direct from H. W. Wilson Company, 950 University Avenue, Bronx, New York 10452, 1964. $1.25. Teacher's Key. Manual-workbook of ten lessons for use by the English teacher and the librarian. Films How To Prepare A Class Report. Coronet, 1953. 10 min. b & w. Available from the Department of Education, Audio-Visual Services Branch. Know Your Library. Coronet, rev. 1962. 11 min. Color. Available from the Extension Department, University of Alberta, Edmonton. Filmstrips Library Tools Series. Young America (McGraw-Hill), 1964. Color. $37.50 a set, $7.00 each. Guide. 1. Aids in Writing and Reading. Young America, 1964. 37 fr. Color. $7.00. Presents Roget's Thesaurus, Wood's Unabridged Rhyming Dictionary, Granger's Index to Poetry, Benet's Reader's Encyclopedia, and Bartlett's Familiar Quotations. 2. Almanacs and Yearbooks. Young America, 1954. 40 Fr. Color. $7.00. The world Almanac, The Statistical Abstract of the United States, The Statesman's Yearbook, and other yearbooks are described. The types of information found in encyclopedia annuals are introduced. 3. Books For Biography. Young America, 1954. 46 Fr. Color. $7.00. The Readers' Guide, Current Biography, Who's Who, Who's Who in America, Dictionary of American Biography, Webster's Biographical Dictionary, and Twentieth Century Authors are analyzed for their information on people. 4. Gazetteers and Atlases. Young America, 1954. 40 Fr. Color. $7.00. The use of the gazetteer and atlas are explained and illustrated by typical questions. The Columbia Lippincott Gazetteer, Webster's Geo- SENIOR IIICH SCHOOL CURRICl LIM (HIDE FOR ENGLISH graphical Dictionary, and Hammond's Library World Atlas are used to illustrate typical works. 5. One Volume Encyclopedias. Young America, 1954. 39 Fr. Color. $7.00. Utilizes the Columbia Encyclopedia and the Lincoln Library of Essential Information to explain alphabetical and topical arrangement and the use of indexes, both general and specific. 6. Readers' Guide To Periodical Literature. Young America, 1954. 52 fr. Color. $7.00. Shows how the periodical index is used to locate information on a subject; an article by a given writer, short stories, and other materials. Explains symbols and abbreviations used in the index, its format, and its use in answering specific questions. SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH ENGLISH 10 I. INTRODUCTION English 10 is a course which: 1. Correlates literature, language and composition. 2. Provides opportunity for the student to acquire competence in the basic skills of reading, writing, speaking, listening, and viewing. 3. Includes a wide range of literary, linguistic and multi-media materials to enable teachers to meet the needs of students of varying abilities and interests. 4. Places more responsibility for learning directly on the student, fosters critical and independent thinking, and develops an interest in the language arts. II. CONTENT AND RECOMMENDED TEXTS A. LANGUAGE TECHNIQUES AND COMMUNICATION SKILLS Fleming, Harold, and Allan Glatthorn. Composition: Modeb and Exercises 10. New York: Harcourt, Brace & World, Inc., 1965. B. PROSE 1. THE SHORT STORY A minimum of ten to be selected for class study and/or independent reading. Maline, J. L., and James Berkley (eds. ). Approaches to Literature, Vol. I: Studies in the Short Story. New York: Random House, Inc., 1967. 2. THE NOVEL At least one to be studied from the following list: Clarke, A. C, Childhood's End Creighton, Luella. High, Bright, Buggy Wheels. (Toronto: McClelland & Stewart Ltd., 1966. ) Dickens, C, Oliver Twist Du Maurier, D., The Scapegoat Forester, C. S., The African Queen Guareschi, G., The Little World of Don Camillo Hersey, J., Hiroshima Hunt, Irene, Up a Road Slowly McLean, A., Ice Station Zebra Shute, Neville, Trustee From the Toolroom Stead, J. C, Grain Stevenson, R. L., Kidnapped Stewart, Mary, Nine Coaches Waiting Wyndham, John, The Day of the Triffids (School Edition) Wyndham, John, The Chrysalids (School Edition) 3. NON-FICTION (if time and student interest permit) Durrell, G., My Family and Other Animals Heyerdahl, T., The Kon-Tiki Expedition Keller, Helen, The Story of My Life Maxwell, G., Ring of Bright Water Mowat, Farley, Never Cry Wolf Steinbeck, J., Travels With Charley SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH C. DRAMA 1. THE ONE- ACT PLAY Gassner, John, and Frederick H. Little. Reading and Staging the Play. Toronto: Holt, Rinehart & Winston, 1967. 2. THE SHAKESPEAREAN PLAY (one of the following) As You Like It The Merchant of Venice A Midsummer Night's Dream TIic Taming of the Shrew 3. THE FULL-LENGTH MODERN PLAY (if time and student interest permit) Cassella, Alberto, Death Takes a Holiday Chayevsky, P., Marty Hamilton, P., Angel Street (Gaslight) McCnllers, C, A Member of the Wedding Rand, A., Night of January Sixteenth Rose, R., Twelve Angry Men Rostand, E., Cyrano de Bergerac Shaw, G. R.. Androcles and the Lion Ustinov, P., Romanoff and Juliet D. POETRY Eckersley. Wm. Impact. Don Mills, Ontario: J. M. Dent & Sons, Ltd., 1968. OR McLuhan, M., and R. J. Sehoeck. Voices of Literature, Book I. Toronto: Holt, Rinehart & Winston, 1969. III. SPECIFICS A. LANGUAGE Language at the Grade X level should be integrated with literature so that students become aware that literature is the outcome of language and its techniques. In order to acquaint students with the principles of good writing, it is worthwhile to teach them to analyse the principles of good writers. Such analysis makes the student more aware that good writing is organized (has direction), and that stylistic devices are not ends in themselves but are employed to enhance the author's central purpose. Such principles should be then employed by the student in his own personal writing assignments (description, narration, exposi- tion, argument). Thus the student will realize that such analysis can be used for the improvement of written expression. 1. UNITY: a) Thought b) Mood 2. COHERENCE ■> Logical arrangement of ideas I' Transitional devices 3. EMPHASIS Method ol development 1>\ one or more of the following: color contrast, sound contrast, space, sentence patterns. connotarJve diction, figures of speech. 8 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 1. UNITY Two aspects of unity should be discussed: a) UNITY OF THOUGHT: all the details must contribute to the author's central idea or theme. b) UNITY OF MOOD: the details which contribute to the author's central idea convey an accompanying feeling or impression that pervades the work. One should state the mood, supplementing the statement with illustrations from the passage to show how the impression is sustained. 2. COHERENCE Not only are the sentences or paragraphs related to the central idea, but to one another. One senses that coherence connects ideas. Coherence may be obtained through the: a) logical arrangement of ideas — chronology, series, cause effect, defini- tion, far to near, near to far, top to bottom, bottom to top, order to chaos, chaos to order, day to night, night to day, etc. b) use of transitional devices — The word "transitional" is derived from two Latin roots — trans — across — itional — from the verb "to go". Therefore, it is a word or a group of words which allows one to go across logically from one sentence to the other, or one paragraph to the other. They may be personal pronouns which refer; coordinate and subordinate conjunctions which join; adverbs or adverb phrases which indicate a consistent passage of time ("then", "at last", "suddenly", "in a moment", "finally", "at length"); synonyms which refer, etc. Again the principle of coherence should be illustrated by clear explanation or direct examples from the passage. 3. EMPHASIS Emphasis is giving prominence or stress to an important idea. The method of achieving emphasis should be named and an example from the passage given to illustrate the method employed. A pertinent conclusion should be drawn — indicating its effect upon the total passage. Methods of Achieving Emphasis: a) Forceful introduction or conclusion — a rhetorical question, a command, an exclamation, a sentence with human interest or surprise, a terse or unique expression. b) Climactic arrangement of ideas — the arrangement of the details of the passage in an ascending scale of interest or importance. c) Good proportion — the concentration of the largest part of the passage upon the details of greatest significance. d) Contrast — its use with respect to color, sound, character, etc. e) Effective repetition — the deliberate repeating of a key word or phrase (often to create suspense). f) Connotative diction — words which suggest far more than they state. THE PARTS CAN THEN BE SEPARATELY RELATED TO THE WHOLE: 1. DICTION Words make an appeal to the intellect, the senses, the emotions and the imagination simultaneously. Words which are concrete-abstract; connotative- denotative; monosyllabic-polysyllabic, indicating their contribution to the passage SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH as a whole might be discussed. For example, if the author wishes to appeal to senses, he will use concrete words; to the emotions and the imagination, connotative words. 2. SENTENCE PATTERNS Sentence patterns aid in contributing to the effect the author wishes to achieve in the whole passage. a) Loose sentences — main idea first and details follow — effective in piling up descriptive detail, indicating slow-moving action, and a slow passage of time. b) Periodic sentences — subordinate ideas first and main idea retained until the end; often used to create suspense and achieve a climax. c) Parallel sentence patterns — in which the author repeats the same gram- matical device again and again to achieve suspense or build toward a climax. d) Short sentences — used to indicate quick-moving action, jerkiness, tension, nervousness, suspense, excitement, etc. 3. SENSORY APPEAL The five senses very often can be appealed to through the use of concrete and connotative language. 4. FIGURES OF SPEECH Figures of speech are extremely effective because of their ability to condense; they appeal to the intellect, senses, emotions and imagination. a) Simile — indirect comparison b) Metaphor — direct comparison c) Personification — giving inanimate objects lifelike qualities d) Alliteration — repetition of similar sound e) Onomatopoeia — a word which imitates its own sound These last two figures appeal to the sense of hearing. If the sound produced is pleasing to the ear, we say the sound is euphonious; if unpleasant or harsh, cacophonous. The sound effect produced will depend on the author's purpose. There are many other figures not listed here. However, a figure of speech should not be selected from a passage merely for identification purposes. Its function in the total effect of the passage is of most importance. 5. THE GENERAL LITERARY STYLE To sum up, the student might comment on the style of the passage as a whole — e.g., terse, didactic, verbose, poetic, ornate, grandiose, sententious, etc. The terms, when explained, very often evaluate the passage as some are compli- mentary, others derogatory. When commenting on a point, the student should: a) define his terminology b) give an example to support (a) c) draw a pertinent conclusion; that is, show how the component contributes to the author's over-all purpose. Thus, in analysis, two important concepts should be evident: the literary whole is greater than the sum of its parts hi the parts are analyzed only to understand better the totality ol the work. 10 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH INFORMAL ANALYSIS Students may read a passage such as the one below and answer the questions following it: It was a tiny movement that drew their eyes to the hanging box. Kino and Juana froze in their positions. Down the rope that hung the baby's box from the roof support a scorpion moved slowly. His stinging tail was straight out behind him, but he could whip it up in a flash of time. The scorpion moved delicately down the rope toward the box. Under her breath Juana repeated an ancient magic to guard against such evil, and on top . of that she muttered a Hail Mary between clenched teeth. But Kino was in motion. His hands were in front of him, palms down, and his eyes were on the scorpion. Beneath it in the hanging box Coyotito laughed and reached up his hand toward it. It sensed danger when Kino was almost within reach of it. It stopped, and its tail rose up over its back in little jerks and the curved thorn on the tail's end glistened. Kino stood perfectly still. He could hear Juana whispering the old magic again, and he could hear the evil music of the enemy. He could not move until the scorpion moved, and it felt for the source of the death that was coming to it. Kino's hand went forward very slowly, very smoothly. The thorned tail jerked upright. And at that moment the laughing Coyotito shook the rope and the scorpion fell. Kino's hand leaped to catch it, but it fell past his fingers, fell on the baby's shoulder, landed and struck. Then snarling, Kino had it, had it in his fingers, rubbing it to a paste in his hands. He threw it down and beat it into the earth floor with his fist, and Coyotito screamed with pain in his box. But Kino beat and stamped the enemy until it was only a fragment and a moist place in the dirt. The Pearl by John Steinbeck 1. Give the passage a suitable title. 2. What mood is the author endeavoring to create? Quote several words or phrases that support your view. 3. Explain how the author has achieved unity in the foregoing passage. 4. The sentences are basically short, and the few long ones are broken by the use of commas. Explain why. 5. Name three methods used by the author to achieve emphasis, and, from the passage, give an example of each method used. 6. Name two methods used by the author to achieve coherence. Give an example of each. 7. Active verbs have been skilfully employed. Give several examples of such verbs and indicate their purpose in the passage. FORMAL ANALYSIS Below is a model literary passage with a student appreciation following. This in turn might lead to the type of student composition shown on p. 13. The scene from the bridge of the Saltash never lost an outline of senseless violence. By day it showed a square mile of tormented water, with huge waves flooding in like mountains sliding down the surface 11 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH of the earth: with gulfs opening before the ship as if the whole ocean was avid to swallow her. Outlined against a livid sky. the mast plunged and rocked through a wild arc of space, flinging the aerials and the signal halyards about as if to whip the sea for its wickedness. Night added the terrible unknown; night was pitch-black, unpierceable to the eye, inhabited by fearful noises and sudden treacherous surprises: by waves that crashed down from nowhere, by stinging spray that tore into a man's face and eyes before he could duck for shelter. Isolated in the blackness, Saltash suffered every assault; she pitched, she rolled, she laboured: she met the shock of a breaking wave with a jar that shook her from end to end, she dived shuddering into a deep trough, shipping tons of water with a noise like a collapsing house, and then rose with infinite slowness, infinite pain, to shoulder the next mass of water aside. and shake herself free, and prepare herself for the next blow . . . from The Cruel Sea bv Nicholas Monsarrat A STUDENT ANALYSIS The writer of this passage has adhered to the principles of good paragraph structure. He has maintained unity of thought and of im- pression by the selection of suitable details to show the effect of a severe storm on the sea, on the ship, and on the crew: "tormented water," "pitching ship," and "stinging spray that tore into a man's face and eyes." From the "tormented water" in the second sentence to the ship's efforts to "shake herself free" and prepare for the "next blow" in the last sentence, the writer has concentrated our attention on the "senseless violence" of the sea. The physical point of view is the bridge of the Saltash: the mental point of view, that of one of the ship's officers. The main impression — the fearful might of the storm is presented as a powerful enemy and that against which it is directed (the sea, the ship, and the crew) as helpless victims. The arrangement of the details in a chronological order is an aid to coherence. The writer describes the terrors of the storm first by day and then by night. This method of arranging the details enables the author to conclude with an expanded description of the storm at night and thus to emphasize the features which he considers most significant. "Night added the terrible unknown." The passing of time is indicated by such word bridges as "by day," "night added," and "then". The details are also arranged in a place order with the description moving from the surface of the water up to the sky and the rigging, and then back again to the water. Since the time order is also a climactic order, the author's method of coherence enable him to build up to the ship's victory and her preparation to meet the next onslaught. The senseless violence of the storm is emphasized in several ways — by climactic arrangement of details, purposeful sentence structure, well- chosen diction and vivid imagery. Some of these devices have already been mentioned; others will be discussed Liter. The writer arouses our interest in the suspense of the opening sentence and holds it in the contrast between day and night — the visible horrors of daylight and the unseen terrors of night. The sentence structure is purposeful. The short simple topic sentence conveys the mam impression ol "senseless violence right at the beginning of the paragraph, Most of the sentences, however, are long and loose. These heap up the descriptive details and thus help to 12 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH create an overwhelming effect in keeping with the weather conditions. The long sentences at the end of the passage suggest the slow passage of time during the long night of the storm. Numerous examples of balanced phrases and parallel structure convey the rhythm of the incessant pounding of the waves. One of the best examples of struc- tural repetition is ' she pitched, she rolled, she laboured," which conveys the supreme difficulty of the ship's struggle against the overwhelming forces of nature. The passage is enlivened by good diction. To help his readers visualize the senseless violence of the waves, to hear their crash, and to feel their impact, the writer has used figurative language, specific adjectives, nouns and verbs, and onomatopoeic words. The vivid similes "huge waves flooding in like mountains sliding down the surface of the earth" and "shipping tons of water with a noise like a collapsing house" emphasizes the size of the waves, the writer compares their troughs to "gulfs" and their crests to wild arcs of space. These are appropriate and original metaphors. The ship and the elements are personified in order to make the battle more realistic. Two of the best examples are "gulfs opening before the ship as if the whole ocean was avid to swallow her" and "the mast . . . flinging the aerials and the signal halyards about as if to whip the sea for its wickedness." Shouldering the mass of water aside and shaking herself free, the ship prepares for the next blow. Almost every word in this passage is a sensory stimulus. Such vivid units of area and mass as "a square mile of tormented water", "shipping tons of water", and "mass of water" effectively suggest the vastness of the storm. Words of contour ("a wild arc of space" and "trough of waves") color ("livid sky" and "night was pitch-black"), and movement ("waves flooding in" and "mast plunged and rocked"), and vivid adjectives ("tormented water" and "treacherous surprises") help us to visualize the senseless quality of the storm's might. At the same time we feel the "stinging spray", the plunge and pitch and roll of the ship, and the jar of the breaking waves which shake the ship from end to end. The writer makes good use of onomatopoeia and other sound effects. Cacophonous sounds in "crashed down", "stinging spray tore" and "dived shuddering into a deep trough" convey unpleasant sensa- tions. Alliteration, especially the end-alliteration in "she pitched, she rolled, she laboured," emphasized the tremendous exertion of the helpless vessel. Thus, by means of unity of thought and impression, coherent and emphatic development, purposeful sentence structure, well-chosen diction, and vivid imagery, the writer has successfully conveyed to his readers the fearful might of a storm at sea. STUDENT COMPOSITION MID-OCEAN EPISODE The Blue Fin was under way. Her bow severed the ocean and small fish glided past her sides into the churning sounds of the motor. She was leaving Bombay and slowly gaining speed. Her bottom creaked of a full cargo and her decks boasted a hearty crew. All were heading for the open sea — and America. The first week passed without incident as she headed for her destination, but it was the second week that proved to be different. 13 SENIOR HIGH SCHOOL CI RRICl LI M GUIDE FOR ENGLISH The morning came and the night passed of the thirteenth day, but between these extremities a storm was launched and it exploded in the form of a hurricane. The wrath of Allah opened the heavens and poured out its fiery terror as the Captain begged, bowed, and became its slave. His efforts were in vain for the Blue Fin was picked up, slashed and thrown back into the waiting jaws of the waves. Great white teeth of foam splintered the vessel and left the bodies of the crew strewn, torn, and mangled. Further churning from the seas gave the crew a quick death and they sank to their watery graves. Allah was appeased, for the winds died down and the seas calmed. There was only one survivor — the Captain. His body, drifting with the currents, lay half submerged. His legs were held underwater by fractured timbers from the ship that had clamped like a vise around his body. He was unconscious and remained so for eight and forty hours. Deep in this coma thoughts came to him slowly. The thoughts of pain. deep in his chest, and then, the thoughts of his early life. He reminisced. . . . the water surrounded him. He was diving for dog whelks, rock-weed and tortoise-shell limpets that covered the rocks. It was these specimens that brought a few rupees from the tourists and would keep him occupied with work and with some spending money for food. He loved diving, for these tropical waters gave forth wondrous beauty. One such spectacle was the sunken sailing ship of which a skeleton now remained covered in violet and crimson coral. Jingle shells and sea peaches darted in and out of the crevasses of the ship hunting for food and sometimes for mates. Then around him, touching him, was the never ending line of insomniacs — fish that never slept . . . He left his adolescent days and his memory picked up again — three weeks before the voyage of the Blue Fin. . . . ambition had placed him as first mate of this vessel, but it was his greed for power that had promoted him to Captain. The price he paid was small compared to his tormented conscience. The thought terrified him and he blocked it from his mind. He fell into a deep sleep. When he gained consciouness the next morning, a new pain greeted him. It was a hunger that produced a famine deep inside his stomach. His mouth longed for the taste of food and he gained an unquenchable thirst that never yielded. The heat of day would leave and night would come bringing coldness, bewitching darkness, and mystery. He found that he needed security and it came only in his f>rayers to Mohammed. He prayed for a rescue and he prayed for his ife. The day passed and he waited patiently for the next. They came in their stride, each robbing his body and leaving with a bit of his life. Each day would watch the Blistering sun rise higher and higher. His dark body grew black. His skin shrank from his bones and his imagination lured him into madness. He drank from the sea sparingly and he chewed at the wood that held him firm. He suffered convulsions and agonizing pain. The seventh day came and so did a storm The rain poured from the skies, the waxes rose and the Captain was thrown and jostled The timbers tightened around him and he started to bleed He closed his eyes and praved with all his might. When he opened them, a ship fteered through the gloom. Happiness swelled m his ear. but it was short - ived for he noticed a sharp blue dorsel fm that pierced the water. It was circling. 14 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH He heard the sound of oars in the distance. He tried to yell, but his voice wouldn't let him. Then he saw the fin disappear. He panicked. He tried to free himself, but it seemed to make the blood flow faster. Then it came. The jaws that found his flesh. He was silent. The leg hung by a thread. Then it was gone. The water foamed and it became a rich red dye. More sharks appeared and they fell into a feeding frenzy. The rowing men watched the spectacle as they tried desperately to reach the Captain. The sharks slashed at everything including them- selves, and through the gloom they saw the Captain disappear. His body descended, never to rise again. The boat turned and headed back to the ship. A COMMENTARY ON THE STUDENT'S COMPOSITION (Description and Narration) THE WHOLE Unity: The student has maintained unity of thought by having all the details relate to the Captain's ordeal of survival amid a vast, empty sea after the destruction of his ship, The Rlue Fin, and the death of his crew. The mood is one of ominous horror and suspense as we share the Captain's pain, hunger, delirium and eventual death by sharks. The maintenance of the singleness of mood enhances the author's central purpose. Coherence: Coherence has been achieved by the a) logical arrangement of ideas — life, suffering, struggle for survival (reminiscences), eventual death; b) transitional devices — adverb phrases indicating the passage of time: "The first week", "the morning came and passed", "he left his adolescent days", "when he gained consciousness", "the seventh day". — pronoun references — the Captain is referred to as "he", sharks are referred to as "they". — punctuation — ( . . . ) ellipses indicate the drifting of the man's mind and the inevitable passage of time. — repetition of key words (and the use of synonyms) — "Captain" repeated; "sharks" repeated; sharks referred to by "fin", "jaws". Emphasis: 1. Connotative words — increase the feeling of intense horror: "slashed", "jaws of the waves", "unquenchable thirst", "coldness", "bewitching darkness", "blistering sun", "fiery terror". 2. Contrast a) Color: blue sea foaming with deep red blood increases the feeling of horror. As the Captain reminisces in delirium the colors of life are beautifully vivid — "violet and crimson coral". b) Lack of sound in the passage is also used to enhance the feeling of terrorized helplessness. Only the slapping of the waves against the imprisoning timbers breaks the silence. 15 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH c) Contrast of situation is also effective. (Irony) The protagonist's greed for power was realized when he became Captain of the Blue Fin, only to be destroyed by the elements of which he appeared to be in command (and by the "sharp blue dorsal fin"). 3. Sentence patterns — long, loose sentences pile up descriptive detail and maintain suspense. The short, choppy sentences increase tension, excitement; reveal the quick-moving action of the attacking sharks. The short final sentence releases tension, and summarily provides a denouement. THE PARTS Diction: Highly connotative to suggest the mood of terror, horror. Concrete to appeal to the senses, particularly sight, sound and touch. Vivid verbs to indicate quick-moving action when the sharks attack the Captain. Sentence patterns: Discussed under Emphasis. Figures of Speech: a) Irony abounds and increases the horror when the Captain comes to grips with reality. b) Metaphors — "the waiting jaws of the waves" — effective in enhancing the fury of the storm and its effect on the Captain. "Great white teeth of foam" — similar effect as above. (Some students might indicate these as personification). c) Simile — "his legs held . . . like a vise around his body" stresses the helplessness of the terrorized Captain. d) Onomatopoeia — "slashed", "churning" (of the sea). Sounds create cacophony (an unpleasant effect) and also enhance mood of horror. General Literary Style: It is ornate without being pretentious. The student has used effective description to enhance the mood of horror and allows us to share the Captain's agony. As the Captain drifts into delirium, the style becomes poetic, highly imaginative. We can conclude that the student has left with his reader an overwhelming "oneness of impression" by integrating the "parts" of the descriptive narrative into a unified whole. B. PROSE CHARACTERISTICS OF FICTIONAL PROSE: 1) The four basic concepts of plot, character, setting, theme 2) Points of view 3) Imagery' 4) Symbolism 5) Irony and other literary devices a. CONCEPTS PECULIAR TO THE SHORT STORY 1. Length It is by definition "short" and therefore must create, more re.ulilv. "a single, lasting impression". 16 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 2. Characters The characters are few, because the short story does not have suf- ficient time to develop fully more than one or two basic characters. As in the novel, the major character is the protagonist, and very often another single person becomes the antagonist. 3. Setting Setting is very often limited for the author must concentrate the action in one or two places to establish plausibility. 4. Plot The story, by necessity, begins "in medias res" — that is, at a moment of dramatic interest. To create "a single, lasting impression", the sequence of events must move with considerable speed. Therefore, subplots are generally not characteristic of the short story. 5. Theme Theme can generally be stated succinctly for subordinate themes are not characteristic of the short story. b. CONCEPTS PECULIAR TO THE NOVEL 1. Length It is much longer and generally more complex in nature than the short story. 2. Characters There are far more characters in a novel than in a short story because there is more space to develop characterization, particularly through interrelationships. A good novel is rich in round and flat characterization. 3. Setting Setting is not limited in the novel because the author can move plausibly, within the space of the novel, from place to place. 4. Plot As in the short story, the novel has a major plot. It may have subplots related to the major plot, but subservient to it. 5. Theme A novel has an underlying, controlling purpose (or theme) which focuses attention on human experiences but it may have subthemes which enrich the major theme. SECONDARY REFERENCES Bates, E. H. The Modern Short Story: A Critical Survey. Boston, Mass.: Writer, Inc., 1956. Boynton, R. W., and M. Mack. Introduction to the Short Story. Don Mills, Ontario: General Publishing Co. Ltd., 1967. Brooks, C, and R. P. Warren. Understanding Fiction. New York: Appleton- Century-Crofts, 1959. Brown, Douglas N. The Eight Talks for CBC Radio. Ottawa: Canadian Broadcasting Corporation. Crane, Milton. Fifty Great Short Stories. New York: Bantam Books, Inc., 1952. Current-Garcia, Eugene, and W. R. Patrick (eds.). What is the Short Story? Palo Alto, California: Scott, Foresman & Co., 1961. 17 SENIOR HK.1I SCHOOL CURRICULUM GUIDE FOR ENGLISH Goodman, Roger (ed. ). Seventy-Five Short Masterpieces. New York: Bantam Books. Inc. Pannwitt. B. (ed. ). The Art of Short Fiction. Toronto: Ginn 6c Co.. 1964. Ryan. Margaret. Teaching the Novel in Paperback. Gait. Ontario: Collier- Macmiilan Canada, Ltd.. 1964. Strunk. W. Eh mints of Style. Gait, Ontario: Collier-Macmillan Canada. Ltd. AIDS TO THE TEACHING OF NON-FICTIONAL PROSE a) The study of suitable essaj s, letters, biographies and journals can be used to familiarize students with the thoughts and feelings of outstanding literary figures and to create an awareness of the beauty and variety of literary styles. b) Oratorical, scientific and other specialized prose can be studied to impress upon students the need for English which is suited to the occasion. c) Class study of the function of selected newspapers and magazines can be used to remind students (it the advantages of the newspaper and the magazine as sources of current news, views and information. d) If time and student interest permit, a class study of a Full-length non- fictional text is recommended. e) The area of non-fiction is sufficiently wide and varied for teachers to accommodate differing levels of interest and ability. Shorter passages which lend themselves to convenient duplication may he used as supple- ments to or substitutes for the study of book-length texts. Students might be encouraged to build up their own anthologies of letters, essays on similar themes, or biographical sketches, or pursue their interests in non-fiction in a systematic fashion as part of their leisure reading program. C DRAMA 1. INTRODUCTION The most appropriate form for beginning instruction in drama is the one-act play. Following this introduction, students will he ready to advance to a study of Shakespearean drama. At the teachers option the full-length modem play might complete the study. Special reading skills are required by the student. The problem presented is one of "what a play means". The reader must be an active participant, imagining and creating in the mind's eye and the mind's ear, the play as it might appear on stage. Few students are prepared to read the drama silently. It is necessary that all types of instructional aids (films, records, fihnstrips. etc.) be used to increase the student's understanding and appreciation. 2. CONCEPTS FOR THE STUDY OF THE DRAMA a) Communication— Drama communicates both visually and aurally. Drama is a special form with characteristics and techniques of its own. Characteristic to it are scenes, acts, staue directions, music. lighting, and sets It must pot he treated merely as literary history, the history of ideas, or the expression of an author's personality. b) Structure — The student should be familiar with such terms and elements of drama which will further Ins understanding and help him to support his impressions and interpretations of the play, e.g. 1. setting —the establishment oi time, place, and mood. 2. character— the development through dialogue, soliloqm . deeds and the interaction ol characters. 18 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 3. plot — the concern with elements such as motivation, con- flict, complication, climax, resolution, denouement. 4. theme — the idea, view of life, or commentary on human behavior that is dramatized through the words and interactions of the characters. c) type — the distinctions among tragedy, comedy, melodrama, farce, etc. Emphasis should be placed on the relationships of the parts to the whole. SECONDARY REFERENCES (Paperbacks are best) Evans, R. Teaching Shakespeare in the High School. Toronto: Mac- millan Co. of Canada Ltd., 1965. Styan, J. L. The Dramatic Experience. Toronto: Macmillan Co. of Canada Ltd., 1960. Styan, J. L. The Elements of Drama. Gait, Ontario: Collier-Macmillan Canada, Ltd., 1966. D. POETRY ORJECTIVES 1. By studying a wide spectrum of poetry the student will realize that poetry is interesting, amusing and/or challenging. 2. The student can discover that poetry need not be beautiful nor moralistic; it can legitimately be stark, ugly, unpleasant, and difficult. 3. The student should develop an appreciation of the style and skill of the poet — his ability to express his ideas succinctly and appropriately. 4. The student should recognize that poetry is designed to stimulate his reasoning and his imagination. To quote Perrine, poetry is not designed "to tell us about experience but to allow us to imaginatively participate in it". 5. The student will meet poetry that is a "happening" or an experience in itself. The poem need not mean anything in the conventional manner; so long as it causes some reaction in the reader, it may communicate without "meaning". SUGGESTED METHODS 1. A wide choice of poetry for teacher and student is desirable. 2. To introduce poetry, use poems with a strong beat and a good story line (Kipling; Service). 3. Use unconventional poems such as Don Marquis' poems of "archie". 4. Introduce them to E. E. Cummings' poems where the physical shape is quite unusual. 5. Once students have begun to study poetry indicate that some poems need to be studied as intensively as any other kind of literature. 6. Encourage students to make up their own anthology of poems. 7. Teach the various devices used by poets (symbolism, imagery, figures of speech) functionally (as one does points of grammar). SECONDARY REFERENCES Perrine, Laurence. Sound and Sense. Don Mills, Ontario: Longmans Canada Ltd., 1963. 19 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Note: a) Page 25 gives study questions which may be applied to any poem. b) Each section given suggestions for studying and appreciating various aspects of poetry. c) Specifically, pages 18, 19 and 20 give general directions for reading a poem, while pages 21 and 22 discuss the meaning of the Hardy poem "The Man He Killed". d) For examples of appropriate and interesting exercises, see page 38 on choice of words of meaning, and pages 188 and 189 for choice of lines of sound. Gillanders, C. Theme and Image, Vol. II. Toronto: Copp Clark Publish- ing Co., 1967. Henn, T. R. The Apple and the Spectroscope. New York: W. YV. Norton & Co., Inc., 1966. (In Canada: Methuen Publications, Toronto). Maline, J., and J. Rerkley (eds.). Studies in Poetry. In Approaches to Literature Series. Don Mills, Ontario: J. M. Dent & Sons (Canada) Ltd., 1967. Millett, Nancy C, and Helen J. Throckmorton. How to Read a Poem. Toronto: Ginn & Co., 1960. APPENDIX MEDIA RESOURCES FOR ENGLISH 10 (Available from Audio Visual Services Branch) Media resources are listed under each of the main headings in the outline and include filmstrips, films, and sound tapes. Filmstrips The filmstrip sets listed below are available from the Audio Visual Services Branch as part of its preview service. Teachers should use the service to select filmstrips which may be purchased and either kept in the school or made readily available through a district service. The numbers refer to the catalog numbers of the Audio Visual Services Branch. Films Films should be ordered as early as possible either from the Audio Visual Services Branch or through the service offered in your school district. Description of films listed by number will be found in the Descriptive Catalog and Supple- ment issued by the Audio Visual Services Branch in 1968 and 1969. Sound Tapes When ordering sound tapes from the Audio Visual Services Branch a tape on which your selection can be recorded must be supplied. Generally a thirty- minute program can be recorded on a 1200 fcx>t tape at a speed of IVz inches per second; or two thirty-minute programs on a 1200 foot tape at a speed of 3% inches per second. Not all the tape recorded resources of the Audio Visual Services Branch are listed. For further information consult the 1969 Tape Catalog issued by the Branch. Code for Medifl. Films >•* A. LANGUAGE TECHNIQUES Filmstrips B Filmstrips H PK 3940 to 3945— six filmstrips— How to Write a Narrative Paper McCraw Hill— $6.50 each. 20 SENIOR HIGH SCHOOL. CURRICULUM GUIDE FOR ENGLISH B PK 4885 - 4892— eight filmstrips— Organizing Your Writing These filmstrips deliniate one useful way of organizing writing. They may be used for individuals, small groups or for classroom lessons. Encyclopaedia Britannica — $6.00 each. B PK 5174 - 5181 — eight filmstrips — Fundamentals of Language Arts A pictorial approach which will assist in generating ideas. Eyegate-Cenco B PK 5169 - 5172 — four filmstrips — Seeing Water, Boats and Bridges Useful in keeping students to observe, see relationships and organize ideas. Bailey Films ► < T 1720 Writing a Good Paragraph Idea of unity and coherence developed in a dramatic situation. Films can be used as a means of analyzing the principles of unity, coherence and emphasis in a dramatic context. There are a number of examples of good screen writing in the films listed under the heading "Prose" below. Tapes x_d 384-T1 384-T2 384-Tlb— Let's Give a Speech Three twenty-minute tapes dealing with informal speech, formal speech, and examples of speech to entertain, speech to inform, speech to persuade. B. PROSE— The Short Story, The Novel, Non-Fiction Filmstrips B PK 4965 - 4966 — Development of the American Short Story 2 filmstrips — modern development — Interpretation and evaluation Society for Visual Education B PK 4424 - 4427— What to Look For in Drama 6- Fiction — Use of title — symbol — foreshadowing & prophesy — transgression Eyegate B P. 3928 Kon Tiki Expedition Common Ground B PK 2790, 2888, 2889—3 filmstrips— Famous American Short Stories Gold Bug, Tom Sawyer, Evangeline Encyclopaedia Britannica Films Films Writers ►< T 1568— Charles Dickens ►< TK 2074— Will Shakespeare— Gent ►< T 1969— The Story of a Writer— Ray Bradbury Stories ►< T 1685 — Each Man's Son — Hugh McLennan ►< T 2081— The Purse ►< TK 2082— The Red Kite ►< T 2197 — Fires of Envy — based on a story by W. O. Mitchell 21 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Features ► < Oliver Tuist— Rank— 20th Century Fox ► < Kidnapped — Walt Disney & 20th Century Fox Tapes Writers o d 278 - Tl — Archibald Macleish o_o 278 - Tib— Arthur Miller Dramatization of Writers o o 297 - Tl — Charles Dickens o_D 297 - T2 — O. Henri) o__o 297 - T2b— Edgar Allan Foe o d 280 — William Shakespeare o d 280 - Tib — Robert Louis Stevenson o_o 280 - T2b— Mark Ticain C. DRAMA Filmstrips 1. One Act 2. Shakespearean 3. Full Length Modern Films Tapes ► < TK 2207— The Cherry Orchard — Checkhov Q__0 239-T3h— Trifles Barni o o 245-T2H — Twelve Pound Look B PK 5057 - 5060 Early English Drama 4 filmstrips and record. Eyegate Medieval & pre Shakespeare B PK 3055— Eliza- bethan Times — Theatre & Players B PK 3681 — Shake- speare's Theatre Series (4) B PK 3292— Life in Elizabctlian London — Popular Science Publishing ► <] Midsummer Sight's Dream — Cagney et al. — Warner O o Drama For Juniors 113-Tlh, 113-T2b, 114-T1, 21-T2. 4 parts nn preparing Midsummer Night's Dream q q Tapes on Shakespeare o o Taming of the Shrew 87-T2b LambA Shakespeare Story Q O lull }>laii — As You / iA<- It (order by title | Q D 251-Tl tribute to Shakespt an Summary <>f life .ind worn 22 ► < Marty— United Artists ► < Angel Street — Gaslight— MGM- Boyer, Bergman ► < 12 Angry Men — United Artists SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH D. POETRY Filmstrips Illustrated Poems B PK 3397 — The Inchcape Rock — Southey Slide Filmstrip Productions B PK 3398— Indian Summer— W. Campbell Slide Filmstrip Productions B PK 4029— Morte d Arthur— Tennyson Encyclopaedia Britannica Films B PK 3207— Unnamed Lake— Scott Slide Filmstrip Productions Films ► < TK 2001 — The Poet's Eye — Shakespeare's imagery ► < T 1536 — The Highwayman — as a ballet ► < TK 1552 — Pilot of the Plains — Pauline Johnson Tapes _o Dramatization of the life of: John Milton (279-Tlb) Percy Bysche Shelley (280-T2) William Wordsworth (281-T1) i ©Readings: 84-Tlb) — Andrea del Sarto — Browning 244-T2— David— Birnie 85-T1 — Death of the Hired Man — Frost and others Commentary & Reading: 284-Tlb — Michael — William Wordsworth 83-Tlb— Frost, Robert 121-Tlb— I'm Nobody, Who Are You?— Emily Dickinson 9-T2b— Keats, John 247 '-Tib— Lindsay, Vachel 259-Tlb — What is Poetry? Discussion. Addresses of feature film companies: Universal — ") Paramount — \ Columbia J #201, 2312-4 Street S.W, Calgary, Alberta United Artists — 3811 Edmonton Trail Calgary, Alberta MGM— 8 Avenue & 6 Street Calgary, Alberta 20th Century Fox- 1402 - 11 Avenue S.W. Calgary, Alberta Sovereign (Disney) — 3811 Edmonton Trail Calgary, Alberta Warner Brothers Seven Arts — 3811 Edmonton Trail Calgary, Alberta 23 SFNIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH ENGLISH 13 I. INTRODUCTION English 13 is a five-credit course in which the emphasis is on the language skills of listening, reading, speaking, viewing and writing as they relate to the needs of everyday life, with every attempt being made to integrate these areas. Through the use of a wide variety of appropriate materials, students are expected to increase both their interest and skill in understanding and interpreting ideas, and in expressing them in clear, accurate, effective speech and writing. II. COURSE PURPOSES 1. To provide a course for students who have a record of difficulty* in English. 2. To provide a continuing pattern of English 13, 23, and 33. Note: Enrolment in English 13 does not bar a student from proceeding to any Grade XI course in the English program. III. RECOMMENDED MATERIALS A. Cline, Joy, Ken Williams, and Dan Dolan. Voices in Literature, Language and Composition, Book 2. Toronto: Ginn & Co., 1968. AND R. One or more of the following: Adamson, J., Born Free Bodsworth, F., Tlie Sparrow's Fall Braithwaite, F., To Sir With Love (Bodlev — Head School Edition) Brickhill. P.. The Great Escape Burnford, S., The Incredible Journey Durrell, G., The Bafut Beagles Falkner, J., Moonfleet Gaddis, T., Bird Man of Alcatraz Griffin, J., Black Like Me Haggard, R., Kino, Solomon's Mines Jackson, S., The Haunting of Hill House Killilea. \L. Karen London. J., Call of the Wild London. J., The Sea Wolf Mowat. 1-"., Sever Cry Wolf St. Pierre, Paul, Boss of the Namko Drive (School Edition) Shulman, M.. West Side Story Stewart, \L. Mu Brother Michael Stol/. Mary, W ho Wants Music on Monday Treece, U .. The Hounds of the King, Wyndham, (., The Pay of the Triffids (School Edition) AND ( !, ( me oi more of the following: Barrows M \\ Currents in Drama Bevan, Donald and Edmund Trzcinslti, Stalag '<* Day C Life With lather Knott. B Dial M for Murder 24 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Maloney, Henry B., Plays to Remember Orr, A. A., Invitation to Drama. (New York: St. Martin's Press, Inc.) Osborne, J., On Borrowed Time Stein, J., Fiddler on the Roof Whitfield, G. J., Introduction to Drama Wilder, T., Our Town OPTIONAL D. One or more of the following: Corbin, R., Currents in Poetry Eckersley, William, Impact Metcalfe, J., and G. Callaghen, Rhyme and Reason. (Toronto: The Ryerson Press ) Rittenhouse, C. et al., Words on Wings Rutledge, D., The Blue Guitar Smiley, M. B. (Director), Stories in Song and Verse Summerfield, G., Voices 1 Weir, C, Steel and Summer Rain IV. GUIDELINES A. GENERAL 1. The teacher of English 13 should strive to learn something about the student as a person. 2. Through a firm but kindly classroom atmosphere, the teacher should attempt to establish good rapport with the students in English 13 who need to feel accepted and liked. 3. Early in the school year, the teacher should attempt, by means of written and/or oral procedures, to discover the skill level and attitude of each of his students. 4. Then, the teacher should start where students are in order to promote further learning. 5. In order to arouse student interest, the teacher should use a wide range of interesting, meaningful materials (e.g. magazines, audio-visual aids, etc.). 6. Assigned work should be such that students will achieve a sense of worthwhile accomplishment in doing it. B. SPECIFIC 1. Students' self-confidence should be fostered. 2. Students should be enabled to increase their sense of responsibility. 3. Student discussion should be encouraged through both large and small group situations. 4. Students should be taught to listen carefully and courteously to each other and to the teacher. 5. Students should be urged to speak freely but audibly. 6. Students should be given assistance in writing legibly and meaningfully. 7. Students should be taught to correct written and oral weaknesses. 8. Students, through reading and discussing good literature (both fiction and non-fiction), should be led to a better understanding of themselves and of others. 9. Students should be given opportunities to read good books. 25 SENIOR MICH SCHOOL CURRICULUM GUIDE FOR ENGLISH 10. Students should be made more aware of the many subtle ways society influences the decisions that people make. 11. Students should be led to think of English as something rewarding and enjoyable. V. CONTENT English 13 demands teacher flexibility in choice of content and materials which will necessarily vary with each classroom. The teacher is responsible to the School Hoard tor selecting materials and activities that best meet the needs of students. The materials and activities may be: 1. Stimulating selections from recommended texts and the mass media; 2. Contemporary materials tor developing skills essential to communication; and, 3. Language activities arising directly from listening, reading, speaking. viewing, and writing. THE FOLLOWING CONTENT AREAS ARE TO RE INTEGRATED: A. Listening Activities R. Reading Activities C. Speaking Activities D. Viewing Activities E. Writing Activities A. LISTENING ACTIVITIES Surveys and studies reveal that the average adult spends most of his working day in verbal communication and that a large per cent of this time is spent in listening. Yet only a small percentage of high school students listen to the teacher. Students should be made aware of the import. nice of the listening skills and taught how to listen effectively. 1. PURPOSE: The purpose oi having students learn the- listening skills is to help them get the meaning imbued in the message. 2. SOME SUGGESTED APPROACHES: a. Avoid repeating instructions or announcements unnecessarily. Repeti- tion, it necessary, should come only from students. 1) Discuss listening courtesv , lor example, "look directly at the speaker". c. Devise with the students listening rules, tor example, concentrate on the words of the speaker, take notes, anticipate the next point. d. Give or.il qui//es on the morning's public address announcements, a news broadcast, a guest speaker's message, or materials to be tested e. W.ivt- the class sit in silence lor a uiven period of tune and then have them record all the sounds thev inav have heard. f. Plaj a recording ol a famous speech and analyze the speakei s presentation. ^. I'l.iv ,i recording ol a literary work which lias previously been read silentlv !>v the class Discuss win the spoken veision inav have a greater emotional impact. 26 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Have students observe a speaker to detect the non-verbal aspects of communication; for example, expressions, gestures, mannerisms, dress, etc. 3. REFERENCES AND MATERIALS: References Braithwaite, Max. Servant or Master: A Casebook of Mass Media. Agincourt, Ontario: The Book Society of Canada. Browning, A. The English Language Arts in Secondary Schools. Champaign, Illinois: National Council of Teachers of English. Nichols, R. Are You Listening? Scarborough, Ontario: McGraw-Hill Co. of Canada Ltd. National Council of Teachers of English. Ideas For Teaching English. Champaign, Illinois: National Council of Teachers of English. Audio Visual Materials ®How To Study And Why — American Recording Society ©SL 192 This I Believe — Record Album, Columbia 0/ Can Hear It Noiv — C.B.C. Martin Luther King's Massey Lectures oVictor Borgc Phonetic Punctuation ©RL 7624 Folksong And Minstrelcy — Classic Record Library © Earth, Sky, Sea— RCA Victor ► < Listening Skills: An Introduction — Coronet Films ► < T-1847 Effective Listening q d Listening Is Good Business — Audio Visual Branch, Department of Education Other The Brown-Carlson Test Of Listening Comprehension — World Book B. READING ACTIVITIES Because of the limited reading experiences of many students who take English 13, and in accord with the general guidelines stated earlier for the implementation of the course, every effort should be made to determine the reading level of the student. Reading can be both an individual and a group experience in which the student is made aware that he reads for three purposes: 1. Information and Direction 2. Insight 3. Enjoyment 1. READING FOR INFORMATION AND DIRECTION: Suggested Approaches a. Have students read books, magazines, etc. b. Have students become familiar with reference books. This will include the use of basic reference materials such as dictionaries, directories, texts, etc., as indicated by the needs of the students. c. Encourage students to read directions on medicine bottles, packages, schedules and road maps, menus (English and French), recipes, "how to assemble", "how to operate", contracts, business forms in common use, bank statements, advertising, including correctly inter- preting such things as "Free" or "Big 25c Bonus" offers, labels on clothing, food and other merchandise, with their meanings and implications, warrantees and guarantees, etc. 27 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 2. READING FOR INSIGHT: Students should be encouraged to read literature which will sharpen their perspectives and enrich their understanding. More specifically, they should be encouraged to read material which will lead them to understand human behavior. 3. READING FOR ENJOYMENT: Students should be given sufficient time to browse freely through a wide range of books, preferably paperbacks. Wherever these resources permit, books should be displayed and used within the classroom. Acquaintance and subse- quent association with books should be as intimate, pleasant and relaxing as possible. Teachers may find it useful to have groups of students reading the same novel but this is not mandatory. The teacher is directed to the section on Leisure Reading in the Curriculum Guide. Similarly, teachers may wish to have students reading the same play which may be one act or longer. 4. REFERENCES AND MATERIALS: References Altick, R. D. Preface to Critical Reading. New York: Harcourt, Brace & World, Inc., 1960. Creber, J. Sense and Sensitivity. Chester Springs, Pa.: DuFour Editions, Inc., 1966. Fader, D. N., and Elton B. McNeil. Hooked on Books. New York: G. P. Putnam's Sons, 1968. Holbrook, D. English For the Rejected. New York: Cambridge University Press, 1964. Jenkinson, E. B. What is Language? Bloomington, Ind.: Indiana University Press, 1968. Loban, W. Teaching Language and Literature. New York: Harcourt, Brace & World, Inc. National Council of Teachers of English. English Journal. Champaign, Illinois: National Council of Teachers of English. Films >< Developing Reading Maturity Series ► < Reading Improvement Scries ► o Better Reading ► < Hoiv Effectix e is Your Reading? 5. STUDENT READING: a. Prose Bennett, C. L., and J. F. Suav/e. Golden Caravan. Toronto: The Macmillan Co. of Canada Ltd., 1962. Bradbury, R. The Martian Chronicles. Toronto: Doubled, iv Publishers, 1958. Bradbury, H. Tu ><<■ Twenty-Two. Toronto: Doubleday Publishers, L966 Bullocke, |. G, The Harrap Book Modern Short Stories. Toronto: Clarke hum ^ Co. Ltd , 1964. Colbert, A. Short Stories for Young People. Don Mills. Ontario: J. M Dent c\ Sons (Canada) Ltd., L955. Hitchcock, A. Alfred Hitchcock Presents: Mi/ Favorites in Suspense. Random House ol Canada I td L959 Hitchcock, A. Stories They Wouldn't Lei Me Po on TV New York: Simon & Schuster, Inc., H).r)7. 28 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH James, H. Ten Short Stories. Chester Springs, Pa.: DuFour Editions, Inc., 1948. Penner, P., and J. McGechaen. Canadian Reflections. Toronto: The Macmillan Co. of Canada Ltd., 1964. Pooley, R. C. Perspectives. Scarborough, Ontario: W. J. Gage Ltd., 1963. Pooley, R. C. Vanguard. Palo Alto, California: Scott, Foresman & Co., 1967. Porter, Cecil J. Prose Pageant. Toronto: The Ryerson Press. Rehder, J. The Story at Work. New York: Odyssey Press, Inc., 1963. Roy, G. Street of Riches. New York: Harcourt, Brace & World, Inc., 1957. Van Doren, Mark et al. Insights into Literature. Boston, Mass.: Houghton Mifflin Co. Willis, H., and R. MacGillvray. Invitation to Short Stories. Toronto: The Macmillan Co. of Canada Ltd., 1958. Wyndham, J. The Seeds of Time. Don Mills, Ontario: Longmans Canada Ltd. (Penguin). b. MAGAZINES American Girl Automotive Service The Reaver Car and Driver Canadian Geographic Charm Ebony Field And Stream Hot Rod Life Look Mad Macleans Motor Trend National Geographic Outdoor Life Popular Mechanics Popular Science Readers Digest Science Digest Sentinel Seventeen Skiing Sports Illustrated Track And Traffic c. MAGAZINES RECOMMENDED FOR CLASS SETS Literary Cavalcade Practical English Read Scope Readers Digest (School Edition) 29 Scholastic Publications Richmond Hill, Ontario SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH C. SPEAKING ACTIVITIES 1. INTRODUCTION: Speaking skills should develop the students' ability to communicate orally with confidence and satisfaction. Students may be more inclined to express themselves, relate experiences, or share information in speech rather than in writing. Therefore, a significant part of the course should be devoted to a study of speech as the students' chief means of communication. The students should be helped to understand the power of speech and to accept the responsibility for speaking. 2. ORJECTIVES FOR SPEAKING SKILLS: a. Personal proficiency b. Increased knowledge (Gained from the materials and resources used in the study). 3. THREE MAJOR AREAS OF VITAL EXPERIENCE SHOULD BE REVEALED TO THE STUDENT BY THE STUDY OF SPEAKING SKILLS: a. Understanding the effects of speech in our society (e.g., the place and function of mass media of communication.) b. Recognizing his verbal weaknesses and strengths. c. Adopting fundamental attitudes, techniques and insights that underlie efficient speaking in: i. getting along with others ii. reporting information iii. sharing experiences iv. solving problems v. persuading others. 4. SOME SUGGESTIONS FOR ACTIVITIES: a. Speaking in the Modem World i. A consideration of modem inventions which extend the range and influence of speech: radio TV. movies tapes records ii. A study of how these inventions have affected our way of living iii. A production of a short radio program on tape. OR A staging of a program and video-taping it so students ma\ enjoy their own production. Production ox a short film — 8 mm is convenient and inexpensive. A preparation of a school's TV. news report. For this students would have to coordinate still pictures, newsreel motion pictures, maps, pictures of objects, and documents with the speech of the new swriter. NOTE This type <>l activity would include uniting, speaking, acting, and Coordinating as a team to produce the final result. It inav include tele phone or direct interviews with people who work in radio or T.V. stations, pins reporting to the class 30 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH b. Speaking Skills Necessary in Communicating Most Effectively i. Attitudes ii. Voice and pronunciation iii. Oral language iv. Planning and preparing a speech v. Skill in critical thinking vi. Short speaking exercises. c. Speaking to Share Information i. Various situations could be set up as projects for the students. e.g., obtain information on summer tours from a travel agency; speak to the manager of a store to secure employment; or meet with classmates to plan a dance, ii. By reporting on the information they have gained, the students will discover how to relate facts accurately. d. Speaking to Share Experiences i. Shared personal experiences ii. Story telling iii. Reading aloud iv. Drama e. Speaking to Solve Problems i. Buzz sessions ii. Debates iii. Role playing, e.g., son trying to get car from father. f. Speaking to Persuade i. Studying the art of persuasion ii. Analyzing a successful advertisement iii. Making a persuasive speech or presenting an idea. g. Speaking for Good Social Relations i. Improving general conversation ii. Improving the use of the telephone conversation. Tape record- ing a conversation during a lunch hour and letting students discuss the ways in which their general conversation could be improved. Role playing various telephone conversations and discussing the effectiveness of the conversation. 5. REFERENCES AND MATERIALS: Communications: The Life Line of Society — Issued by Alberta Department of Agriculture, Junior Division Activities. Brown, D. Concepts and Practices in Teaching Aural English. Borden, R. Public Speaking as Listeners Like It. Resources for the Teaching of English — by the National Council of Teachers of English. a. Stock No. 502015 — An Evaluation of Methods of Teaching Vocabulary in Secondary Schools. b. Stock No. 51204 — Speech in the English Classroom. c. Stock No. 51437 — The State of Knowledge About the Teaching of Vocabulary. d. Stock No. 51507 — Teachers Guide to High School Speech. Weaver, A. et al. Speaking and Listening. Specheen, D. J., and R. Towne. Speech Arts — An Introduction. 31 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Films ► < Fundamentals of Public Speaking — Coronet Films ► < Tk-1845 Language and Communication ► < Public Speaking: Movement and Gesture — Coronet Films Filmstrips B P-1344 How to Prepare a Speech Records © Mend Your Speech — Folkways/Scholastic Records © Radio Before Television (A Word in Your Ear i — Folkways/Scholastic Records D. VIEWING ACTIVITIES 1. INTRODUCTION: Although the film is the most widely used of the media in the classroom, the process of viewing need not be strictly confined to the use of films. Seeing is a vital life process, and one that is taken for granted. All manner of visual aids should be used in the classroom for the purpose of directing and focusing the students' perceptions. Students can be made more keenly aware of their sur- roundings, of how their surroundings affect them, how communication depends heavily on visual signals, and of the importance placed on visual stimuli in living. Viewing should not be regarded as a separate unit of study, but rather should be integrated throughout the English program. 2. GUIDELINES FOR THE USE OF FILMS: a. Films by virtue of their dramatic and visual impact leave a greater impression than written selections. b. Students prefer films dealing with their own problems and the processes of maturation. c. Films that talk down to and/or preach to the students are un- desirable d. Students enjoy a discussion of any thought-provoking film. e. Films, to be enjoyable and instructive, need not be directly related to English or any specific area of the course. They should not, however, infringe on other subject areas. f. Students prefer films with dramatic situations and realistic characters. g. Films should be used frequently, but not for entertainment alone. If the only films available are not suitable, they should not be used. 3. FUNCTIONS OF THE FILM IN THE CLASSROOM a. A film varies classroom routine. b. It provides a visual stimulus for learning. c. It provides a spring-board for discussion, for written work, and for further exploration into a topic. d. It Supplements the television diet. e. It provides those students who are poorlv motivated to read a w .i\ of obtaining information. f. It provides the student with a fresh point of view. g. It reinforces and motivates learning especially in the case of instructional films. 32 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 4. SUGGESTED ACTIVITIES: a. Teachers should use a variety of illustrative materials in the presenta- tion of written works. Posters, pictures from magazines, paintings, charts, graphs, and slides are useful devices. b. Pictures from magazines may be shown and discussed. Students try to interpret each picture and are then asked to put themselves in the picture and write about their feelings regarding the suggested situation. c. During a discussion of sight and blindness, half the students are blindfolded. The sightless students may show a variety of reactions, the most common being relative silence and difficulty in following the discussion. After removing the blindfolds, the students may be encouraged to list areas of their lives that would be seriously changed if they were to lose their sight, and to suggest ways they might compensate. d. Many activities may be based on a study of television programs, movies, and advertising as these affect taste, values and enjoyment of life. Students should be made aware of the visual impact of design on our surroundings; e.g., clothing, automobiles, etc. 5. REFERENCES AND MATERIALS: Rraithwaite, Max, Servant or Master? A Casebook of Mass Media. Book Society of Canada Ltd., Agincourt, 1968. Hazard, Patric D., (Ed.), TV As Art. National Council of Teachers of English, 508 South 6th Street, Champaign, 111. 61820, 1966. Koenig, Allen and Ruane Hill, (Eds.), The Farther Vision: Educational TV Today. University of Wisconsin Press, Madison, Wis., 1967. Postman, Neil, Television and The Teaching of English, Appelton Century Crofts, New York. Sheridan, M., H. Owen, K. Macrorie, F. Marus, (Eds.), The Motion Picture and the Teaching of English. Appelton Centurv Crofts, New York, 1965. 6. SOURCES OF MATERIALS Local Instructional Materials Centers A-V Branch, Department of Education E. WRITING ACTIVITIES Written expression is a basic section of any language study, and must be given much attention in this first year of the high school English program. Since the aims of the course are to help the student to develop a useful skill first and a literary skill second, the teacher must be aware that most of the students have experienced only frustration in their efforts to write and that they feel most writing is outside their interest or use. 1. OBJECTIVES: Students require instruction and practice in writing which is relevant to them. They should be taught to: a. write legibly; b. handle written language acceptably; c. write a business letter; d. fill in forms neatly and quickly; 33 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH e. write orders which are clearly stated and to make up bills with accuracy; f. cope in a sincere way with social situations which require writing — thank you notes, congratulations, condolences; and, g. write clear, factual work or committee reports. Opportunities should he provided for: a. practicing with standard forms of the sentence and the paragraph; b. recognizing the importance of using accepted forms of spelling, punctuation, grammar, vocabulary in terms of use rather than theory; c. developing real understanding of the value of the dictionary as a reference book; and, d. developing a sense of pride, and an interest in presenting pupils' ideas in a pleasing, readable form. Those in the class who have a talent for more artistic writing (essays, poetry, stories) should be provided with opportunities for creative expression of beliefs and ideas. 2. SUGGESTED ACTIVITIES: The student's environment will provide plenty of material for writing, e.g., a. experiences from his daily life in the community; b. reactions to TV, radio, records, movies, newspapers, magazines; and, c. the literature which is incorporated into the course. 3. REFERENCES AND MATERIALS: Fleming, H., and A. Glatthorn. Composition: Models and Exercises. New York: Harcourt, Rraee & World, Inc. Guth, H. English Today and Tomorrow. Scarborough, Ontario: Prentice- Hall of Canada Ltd., 1964. Hughes, A., and G. McDonagh. Building Language Skills. Scarborough. Ontario: McGraw-Hill Co. of Canada Ltd., 1965. Hughes, A., and G. McDonagh. Using Language Skills. Scarborough. Ontario: McGraw-Hill Co. of Canada Ltd.. 1966. Ix)ban, \V., et al. Teaching Language and Literature. New York: Harcourt, Brace & World, Inc. VI. EVALUATION In order to evaluate the student's development in the program, the teacher must be constantly aware of three things: the stated purposes of the course; the objectives, general and specific, given in 'Guidelines "; the student's growth in skills, in attitudes, and in responsibility for his own progress. Tests and formal examinations may be given at stated times; however, the daily activities and assignments should provide the bulk of the information needed for the teacher's evaluation of student progress. Development Of the speaking skills may be observed in the student's partici- pation on an individual basis, as a member ot a small discussion group, and as I member ot the whole class. A tape recorder mav be used in assessing a student s skill in speech. Growth in viewing and listening should be evident in an increased awareness by the student of what is L^oin^ on m his surroundings. 34 SENIOR HIGH SCHOOL CURRICULUM GUIDE EOR ENGLISH In all three of the above skills daily observation is needed. Development of oral and silent reading skills may be tested for understanding and appreciation; tapes may be used to test the former whereas the latter may be tested by written work and discussion. Development of writing skills may be judged by the evidence from the student's assignments kept in his own folio of writing. Growth in personal attitudes may be observed in the ability of the student to accept responsibility and to recognize his obligations to the group. APPENDIX MEDIA RESOURCES FOR ENGLISH 13 The resources listed may be borrowed from the Audio Visual Services Branch by most schools in the province. Teachers in Calgary and Edmonton should order films from their own instructional media services. Listening Activities The Audio Visual Services Branch operates an extensive sound tape library. A catalog is available from the Branch, listing all programs which are stored on master tapes. When a request for tapes is made, the order should be accompanied by tape in sufficient quantity to permit re-recording from the masters to the school's tapes at the speed required. Full instructions are given in the catalog. The following are a few examples of spoken versions of literary works. The numbers are from the new Tape Catalog of the Audio Visual Services Branch: o d 84-Tlb Andrea del Sarto — Browning o o 85-T1 Death of the Hired Man — Frost o Q 281-Tlb several shorter poems under the title "The Face of Death" includ- ing: Ozymandias — Shelley; War is Kind — Crane; Boors — Kipling; The Man He Killed — Hardy, and several others. Q o 282-T1 several humorous poems under the title "Funny Bones", including: Jabberwocky — Carroll; Those Two Boys — Adams; Jim — Belloc, and others. The Tape Catalog listings include many short dramas and dramatizations. Some examples: o d 239-T3b Trifles — James Barrie o d 245-T2b Twelve Found Look — James Barrie o_d426 flip Van Winkle o o 422 Ransom of Red Chief o d 426 Most Dangerous Game and scores of other stories from books. Teachers should also study the current school radio broadcasts calendar for listings of programs which might be used for listening practice. The film Tk-1847, Effective Listening, considers the obstacles to effective listening and how these can be overcome. Reading Activities A filmstrip series which may be of assistance in improving reading for information and direction is, Reading for Understanding, five filmstrips which are more specifically related to younger grades. The topics included are — context clues, main ideas, note taking and outlining, careful reading, skimming and inferring meanings. 35 SENIOR HIGH SCHOOL CI RR1CI LI M GLIDE FOR ENGLISH Many tapes in the Tape Library of the Audio Visual Services Branch are adaptations of stories and novels. These arc Fully listed in the section of the Catalog. "Literature and Languau< ■". They can be used to motivate reading activities of students. A t< \\ examples oi extracts from longer literary works are: The Scarlet Pimpernel, The Three Musketeers, Treasure Island. The Virginian, Jane Eyre, Kon-Tiki, Lost Horizon, etc. An interesting series oi four films, Developing Reading Maturity, will be helpful in encouraging comparative reading, critical evaluation, interpretation of meaning and understanding style. The Audio Visual Services Branch catalog numbers are Tk-1739. Tk-1740, Tk-1741, and Tk-1742. Speaking Activities Three taped programs entitled. Let's Give a Speech, deal with informal speech, formal speech, as well as speech to entertain, speech to inform, and speech to persuade. These are obtainable from the Audio Visual Srvices Branch: use catalog numbers. 384-T1, 384-T2. and 384-Tlb. A new filmstrip series by Bailey entitled. Seeing Water, Boats and Bridges, encourages observation and accurate reporting on observations made. The Audio Visual Services Branch has prepared brief bulletins which will be of assistance to teachers and students in producing short "radio" programs. Smm films and videotaped programs. These may be obtained on request from the Supervisor of Audio Visual Services, Alberta Department of Education. Edmonton. Viewing Activities The following arc films from the Audio Visual Sen ices Branch which may be useful as viewing activities. For information: ► < Tk-2069 Mysteries of the Deep ► < Tk-2085 The Accessible Arctic ► < Tk-2155 Spo( c Science — Studying the Stars ► < T-2260 Story of a Foreign Correspondent For discussion: ► « T-20S1 The Purse ► < Tk-2082 The Red Kite ► < Tk-2095 Toys ► < Tk-2190 The Right to Hum ► « T-2197 Fire* of Envy ► < T-2199 Willie Catches On ► < T-2200 Day in the Night of Jonathan Mole ►< T-1844 When Tin Old Enough, Goodbye For pleasure and general interest: ► < Tk-2065 Explore Expo ► < T-2307 One Summer's Day ► < Tk-is.ll Cattle Hunch ► < Tk l(xn Sailing ► < Tk-1961 The Miner ► < Tk 2052 Miss Goodall and the Wild Chimpan I i ature films maj 1><- rented occasionally for use m school or alter school as a special project \ fev films available in L6mm are listed below, together with the names and addresses ol the Albeit a distributor Do not write to the \udio Visual Services Branch or the Uberta Department oi Education, 36 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH ► < To Sir With Love — Canfilm Screen Service Ltd. #201, 2312-4 Street, S.W. CALGARY, Alberta ► < Born Free — Canfilm Screen Service Ltd. #201, 2312-4 Street, S.W. CALGARY, Alberta ► < Bird Man of Alcatraz — United Artists Corporation Ltd. 3811 Edmonton Trail CALGARY, Alberta ► < King Solomons Mines — Metro-Goldwyn-Mayer Distributors 8 Avenue & 6 Street, S.W. CALGARY, Alberta ► < Incredible Journey — • Sovereign Films Distributors Ltd. 3811 Edmonton Trail CALGARY, Alberta x^Dial "M" for Murder — Warner Rros. Pictures Distributing Co. Ltd. 3811 Edmonton Trail CALGARY, Alberta ► < The Sea Wolf — Warner Bros. Pictures Distributing Co. Ltd. 3811 Edmonton Trail CALGARY, Alberta Writing Activities The following filmstrips could be useful in providing additional experiences for students either individually or in small groups. These are available from the Audio Visual Services Branch on a preview basis only. Others are listed in the Filmstrip Catalog, "Literature and Language". B Pk-3536 Aids in Writing and Reading (Library) B Pk-5174 to Pk-5181 Fundamentals of Language Arts Series 9 filmstrips including topics: select the best title, select the right words, etc. B Pk-3940 to Pk-3945 How to Write Series — 6 filmstrips showing how to write a narrative paper. B Pk-3965 to Pk-3968 News Writing Series — 4 filmstrips giving assistance in this specialized area. Films which may be useful in encouraging writing activities include: ► o (lan- ature a tion elec- izine % o eaking a easoning uestions subjects the liter n illustr terature s or mag; p a, "- ZT 'r es EA 0) o c - b CO o CN o •- O C i- B ji tc t/5 3 rt ^3 ■ rv C- •— v. "3! *tJC c W Selection of main ; in selections read. Review of note-taki Preparation of note ties. Topical outline. Deductive and indi Answers to examin guage, literature an Giving explanation* Character sketches program). Caption to accom (e.g. news photogra Summary of theme tion. Giving directions. Summary of news article. —i oi ^h oi co i-i ci co -"r m oi CO T3 -o_i CO 00 OJ Cv « £- •*r 0) o o "^ CO V. ^h" Organization Skills ed for Writing and ing. LRS pp. 73-115, 4 HC pp. 165-217. O ZZ CO 4-* c c o 0 Organization Ski ed for Reading. LRS pp. 212-266 C H Sentence positions. pp. 485-541 pp. 145-146, pp. 97-146. e-Sentence positions. p. 525 ff. pp. 315-316. pp. 119-146 2 Z ctfO^D- CU J = coU x c ccs_/ a. P O 3 35 0 ^-i ci — m e4 84 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH M V < © en «o 3 c o c o O C (0 <*> c ft a cu a3 cu CO CO ft -3 -G CO ft — as mi l-H n bU W as as ft * 2 M s as X cu ft cu G "O .2 _3 "^ ft? S 2 |l be S u as 3 -n as «h >* ft O >-, ft* co CJ CO cu "cu G rt -.§ a! x 3 O £ ft T3< CO cu bO as CO _G iS ft e o cj bC G 0) as to cu 3 ±2 g •S .2 o ft CM CO C O X! as 13 as 1-1 bO G O cj G a cu o G -2 "o G O CJ CO G u 3 G as cu ft o G « o > S s a ■-! -rl -5 ed ft OS bo c K d c as be 5 "> ft 2 '-a ■h x a cu CM CO o . 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Observation of adult-level parliamentary procedure in action (e.g., field trip to Legislative Assembly, visit to political open forum). 3. Preparation for trade union meeting participation. 1. Impromptu as well as prepared inter- views. 2. Demanding job interviews. 3. Realistic interviewing situations (e.g., in- terviews with local businessmen). 1. Radio and television drama. 2. Short stories. 3. Poems. 1. Continuation of activities begun in Eng- lish 23. 2. Tape recording of material suitable for radio or television broadcasts. 1. Use of taped lectures. 2. Summaries of radio news broadcasts. 3. Some repeated experiences of English 23. CO CO CM be S3 W CNl CO Tf O-O "■9 3 >H O o .S S3 bC « c O 3 as % en S3 >» O a! 4 B o 6 -M o ■c cd bC C W bC '2 2 J§ be o5 c e ° § "-g • ph TO ■*-> <*> O (h 5 > t/i • S3 e OT O o _g o 4J JJ +J u bOT3 bC S3 G cJ3'2 0) bO S3 u o o 0) . 11 - os^G oq CO-* Hcqco S3 g to is ££ CO -4—* t— * ° 0,0 .9 o-5 « 8.S bC B 'a. a) > as rt c 2^-"= as bbZUPL, 2j2 ° 2 u e b o^ m o E fa F, OJ OTJ O as pd £ •2 -2 I- bC T3 O ^3 JS >-l MCO^ •-H CM CO G O va as & O c, s ° as o « - ^ c o 0 CO ' o °? CO bO . G A •a a OS I CO ) 'CO" ►-> H t-J ! being ten years older. 11. I low I judge people. 12. My attitude to conformity. 90 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 13. What do you consider the greatest character strengths that a young adult could possess — and why? 14. If I could design my own home . . . 15. Discuss the possibilities of two young adults with radically different intelligence levels forming a successfully permanent friendship. 16. The problem of discipline ... IF I WERE A PARENT! 17. The young adult as seen by the adult world . . . and the truth! 18. With what kind of much older person would you find it possible to live happily? 19. Create a list of rights and duties for parents and children. 20. How to prevent an only child from being spoiled. 21. Character as reflected by one's (a) car, (b) home, (c) week-ends. 22. A place to live: country, town or big city. 23. The most inspiring man or woman I have ever known. 24. A book that changed my mind. 25. What is lacking in my high school education? 26. How television could grow up. 27. The world of youth reflected by movies. 28. If I decided to join the Peace Corps, to what section of the world would I ask to be sent . . . and why? 29. The advantages and disadvantages of being a career woman. 30. How I look at the problem of the Canadian Indian and integration. 31. My ideas on the importance of money. 32. Looking forward to maturity: what is it? 33. One month after winning the Irish Sweepstake ($150,000) ... my plans for the future. 34. Some people live alone . . . and like it: others live alone . . . and look it! 35. The equality of the sexes: truth or wishful thinking? 36. A personal view of what constitutes happiness. 37. My criteria for good friendship. 38. "If life hands you a lemon . . . make lemonade!" 39. "Tis better to lie a little than to suffer a lot." (Confucius). Would this advice be justified? (E.G., think of all the parents who lie about Santa Claus, or consider the problem of telling a highly nervous person he has three months to live.) 40. Are the best things in your life truly free ... or can they be bought? 91 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Example of the use of the "car" topic for technical students. Write about 150-200 words on the topic of THE CAR from any one of the following points of view: (a) A satirical sketch titled: Have car . . . will suffer! (b) A comparison and contrast between the Rolls Rovce and the Cadillac. (c) A personal description of you and your car while driving at night. (d) A technical description of the dream car YOU would design. (e) A short autobiography of an old jalopy Model-T once owned by an elderly doctor and later sold to a hot rodder . . . ending in the junk yard. (f) Advice to an untechnical lady teacher on how to judge a car at a used car lot. C. SEMANTICS Definition — The scientific study of meaning conveyed by the spoken and the written word as opposed to the conventions of its use; a study of the basic meaning of a word and of the additional meanings which custom and innovation have given it. Preamble — "Whenever agreement or assent is arrived at in human affairs . . . this agreement is reached by linguistic processes, or else it is not reached."0 This statement by one of the pioneers in the field of semantics, is at first sight a mere truism; it says that man is a creature who is unique in his dependence on spoken and written language. Rehind this idea, however, are a number of often ignored and equally often misused assumptions: 1. Language is the most complex communication device ever created: its sophistication far exceeds that of Tele-Star. 2. Linguistic communication is only made possible because we have "signed", with certain other humans, a social contract in which we have agreed to let certain sounds stand for certain things. Our human dependence on this contract is enormous. We have only to recall our almost subconscious bewilderment when we try to communicate the idea of "young girl" in a social environment where this idea is repre- sented by "madehen" or "jeune fille". Or we can recall Alice's deep unease when she walks through a wood and forgets the names ol things or her distress at trying to communicate with Humpty-Dumpty. for whom words "mean what I want them to mean". To ignore these basic assumptions is to permit the dangerous equation of the sound symbol with the thing symbolized (so certain words shock us because the things which they represent do); it is also to Forget that words (sound symbols) stand lor different things for the same people in different times or contexts To be constantly aware of these points and to be assiduous iu the scientific search for precision is a most important language activitj Indeed, it should be a matter for continual stud\ whenever language is used Benjamin I.cc Whor, quoted In Hayakawa, Languag* in Thought and Action, 92 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Objectives — 1. To lead pupils to the realization that the words they use are symbols which reflect their experience rather than static or real "things in themselves". 2. From this practical illustration of the complexity of language (see No. 1), to lead students to a more discriminating and sophisticated use of language in both its spoken and written forms. 3. To give students some idea of the historical and cultural development of particular English words; to illustrate the process by which certain word meanings have changed in acquiring their present meanings. Application and Emphases One of the major practical applications of the discipline of semantics is the study of the discrepancy which often exists between reality and the careless or imprecise language which we use to communicate this reality. One of the best sources of instructional material for a discussion of semantics is to be found wherever language is used to persuade, inform, misinform, convince, cajole, or coerce. Thus, in the language of ad- vertising and of argumentative speech and prose (e.g., the editorial, the sermon, the political address, the governmental statement of policy) examples of the following emphases will be found. Students should receive instruction in the emphases discussed below, not in isolation, but as instances which are to be found in their own speaking and writing as well as in the sources discussed above. 1. A study of overworked language, especially as it is used to convey emotional reaction or to express value judgment. (a) "I like Rob (turnips, the United States)." (b) ("Susie, segregation, high school education) is nice." 2. Some study of the connotative and denotative properties of words and of the historical and cultural reasons for extension of meaning. (a) What does dust denote? What does it connote for the prairie dweller, the city person, the housewife, the space-research scientist? (b) What is the difference implicit in the words of statesman and politician, labor leader and union boss, business leader and tycoon? (c) What is the difference in the realities which these words stand for: automobile, sedan (Nineteenth Century and today), car, bomb, hot-rod. 3. Recognition and study of the continuing growth of language as exper- ience requires extension of the vocabulary of the language. (a) Kaput, G-I, motel, cosmonaut, television, telecast, retrorocket, discotheque, coin-op, excalation, supersonic, square, egghead. These are all words which are post-World War II in origin or in their present meaning. 93 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 4. Recognition and study of the wide range of meaning which is conveyed by abstract words and by generalization. (a) Example of abstract words: "Democracy is the best form of government." What do we mean by democracy? How would the word be defined by an American? Does it mean the same thing to a Russian? a South African? an Englishman? an ancient Greek? 5. A study of the metaphorical use of language and of its power to carry meaning which is not immediately obvious; the use of metaphor to create analogy and to make inference. The Prime Minister roared his defiance to the members of the opposi- tion. (The P.M. as Lion, King of the Reasts; implies approval, dignity.) He bellowed his rage at the happenings of the day. ("He bellows", as fire bellows; by extension the word is used of animals, implies savagery, windiness, lack of control.) Teacher References 1. Hayakawa, S. I., et al. Language in Thought 6- Action. New York: Harcourt, Rrace and World, Inc., 1949. 2. Guth, Hans P. English Today {? Tomorrow: A Guide for Teachers of English. Englewood Cliffs, New Jersev: Prentice-Hall, Inc., 1964. pp. 16 - 20, 48 - 51, 123 - 164. 3. Loban, W., et al. Teaching Language 6- Literature: Grades Seven to Twelve. New York: Harcourt, Rrace and World, Inc., 1961. pp. 49 - 55, 173 - 174. 4. Chase, Stuart. The Tyranny of Words. New York: Harcourt, Rrace and World, Inc., 1938. 5. . The Power of Words. New York: Harcourt, Brace and World, Inc., 1954. 6. Funk, Wilfred. Word Origins and Their Romantic Stories. New York: Grosset & Dunlap, Inc., 1950. 7. Altiek. Richard. Preface to Critical Reading. Revised edition. New York: Holt, Rinehart and Winston, Inc.. 1961. D. SPEECH The communication skill used most often by English 23 and English 33 students is speech. They should be led to understand that after they leave school their ability to speak w ill be required much more frequently than their ability to write. This does not imply the lessening ol attention to written English, but rather equal recognition of oral English as an essentia] skill. The Difficulties in Acquiring Speech Competence (a) The listener, unlike the reader, cannot "turn back the page". The speaker must acquire far greater clarity and organization in order to be understood the lust tune. 94 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH (b) Since the audience hears the speech only once, the speaker is obliged to use at least one technique of emphasis. (See suggestions under Program in Oral English, which follows.) (c) Only after prolonged practice in the skills of organizing one's thoughts will effective speaking (and writing) become second nature. (d) The speaker must often adapt to a more specific audience than must the writer. He must use his knowledge of the audience to make his points effective; for the speaker can SEE the interest, the aroused expression ... or the yawn . . . and react at once to it. The Appeal of Oral English to Students in English 23 and English 33 In the past, these students have been nurtured with the academic skills of formal Parliamentary Procedure or with the formal oral report. These advanced skills should come only after years of practice in plain, simple speech. We have tended in the past to stress the formal types of speeches instead of concentrating quite simply on the clear, logical, presentation of an idea. Since the non-academic student knows that his listeners cannot run to the dictionary, he uses with ease a vocabulary level suited to his audience, provided the teacher permits this. English 23 and 33 students, freed from fear of having to use formal English at all times, soon leam to express rather than merely to impress. They can be encouraged to express readily their richly connotative oral vocabulary which they know is less suited to written English. They soon sense that the result of a richly connotative word is always brevity. The Program in Oral English Although the speech section in the English 23 and 33 outline appears tightly structured, the teacher is free to rearrange or to substitute accord- ing to personal or class preferences and needs. 1. The early stages of speech practice Concentrate on a simple statement with substantiation based on the simple pattern: "I think that for three reasons: first , secondly , and finally Then advance to: "I think that Examples of this situation are A few sample topics that fit the "reasons and examples" de- velopment in oral English: (a) Why do so few people seem to read poetry? (b) The need to be popular. (c) Why do we punish criminals? (d) People who join service clubs. (e) Why read novels? (f) Why do programs such as "Bonanza" head the television ratings? (g) Sympathy for a character in a play/novel. (h) Do country people dislike city living? (i) The enjoyment of solitude. 95 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Stress three things: Clarity Organization The short, concise statement. 2. The secondary stages of speech practice: Introduce the 3-5 minute speech based on a developmental idea. The most useful developmental ideas come from: (a) Immediate lesson content. (Example: To what type of audience would a particular play most appeal?) (b) A burning issue of the day. (Example: Should literature be censored?) (c) A reflective question that is within the life experience of the student. (Example: What is the greatest strength you wish you could possess?) The student should develop these ideas in a three-to-five-minute speech in which he uses two or more of the following techniques: (a) Reasons. (As in the early stages) (b) Examples. (As in the early stages) (c) Past-present-future contrast (d) The reactions of others to the topic. 3. The advanced stages of speech practice: Introduce, finally, the formal speech types: (a) Introduction (b) Presentation (c) Acceptance (For example, of a gift or an honor) (d) Welcome (e) Farewell (f) Sales (g) Nomination (h) Formal Report (i) Appreciation (j) Evaluation (k) Interview. These Formal speech types will come more readily only after the student lias practised at length the elear. logical presentation of a developmental idea. It the Formal speech types are emphasized first, the student will likely conclude that all speech must he confined to a restricted mold. 96 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Some teachers minimize the use of "speech types" on the grounds that he who can express an idea clearly and effectively will have less difficulty in finding words for a more formal address. At the more advanced stages of oral English, the teacher may wish to introduce some of the ten basic techniques of emphasis: (a) Repetition (b) Use of balanced, parallel, and periodic sentences (c) Antithesis (d) Analogy (e) Metaphor (f) Anecdote (g) Pitch, speed, tone, and inflection (h) Gesture (i) The use of the vivid, concrete example (j) Use of an acknowledged, authoritative quotation. Teachers should be aware of the danger of overloading these students with rules and technique. They should be encouraged to use those techniques that best suit their own temperament, ability and experience. Like the marking of a formal essay, the evaluation of a speech is based on three simple criteria: Clarity: Did the audience understand the words, the logical pro- gression, the point? Interest: Did the audience want to stay to hear the whole speach . . . or to go home? Brevity: Was the speech "pruned" or did the speaker go "on and on"? Such things as body movement, gestures, intonation, enuncia- tion, and volume simply affect the three main criteria. Constant emphasis on too many details can frustrate the embryonic public speaker. E. LISTENING Listening, a widely-used communication skill, is often neglected in the instructional program. However, since listening activities are on the increase through the mass media, the need for more formalized instruc- tion in this skill is realized. Instruction should be given to develop skill in some of the following: 1. Understanding the precise meaning of each assertion. 2. Following a logical sequence of an oral presentation. 3. Determining the central idea. 97 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 4. Perceiving the relation of each part of an exposition to the others and to the whole. 5. Distinguishing between emotionally-toned and reportorial words. 6. Taking notes which are not too detailed, yet not too sketchy. 7. Listening for contextual clues to acquire the meaning of unfamiliar terms. 8. Forming the habits of critical listening to news and discussion pro- grams on radio and television. 9. Listening to others discuss the content of the newspaper or news-type mass media programs. References Brown, Don. "Concepts and Practices in Teaching Aural English". The English Journal (December, 1956), p. 540-6. Frazier, Alexander. "Making the Most of Speaking and Listening Ex- periences", The English Journal (September, 1957), p. 330-8. Higbee, R. W. "A Speaking Approach to Composition", The English Journal (January, 1964), p. 50-1. Keys, George E. "Creative Dramatics and the Slow Learner", The English Journal (February, 1965), p. 81-4. Tanner, Bernard. "Teacher to Disc to Student", The English Journal (May, 1964), p. 362-3. F. RADIO AND TELEVISION The use of a tape-recorder is urged for playing back pre-recorded material, and for the effective teaching of speech in simulated broadcasts. Wherever it is relevant, reference should be made to radio and television in the study of language: Would this report make an interesting radio talk? How would it have to be re-written to give it a conversational tone? With the use of props or illustrative materials could it be adapted for television? Compare news reporting in the newspaper, on radio, and on television. Notice advertising — which of the media is the most effective in attracting customers? What are the comparative costs? Adaptation into radio scripts for tape-recording provides an interest ing group activity following the reading of stories. What camera work would increase mood and suspense if stories were to be televised? How do the lyrics of contemporary ballads compare and contrast with the traditional ballads? A critical analysis of daily and weekly programs of local broadcast Stations might include answers to the following questions: 1. Are the functions of radio and television the s.unc as those of news- papers and magazines? 2. What programs fill the various functions? 3. Dues the change of programming throughout the day reflect the change ol interests of the probable listeners and viewers? Who are the audiences? •1. C pare the impact ol these three mass media. 98 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 5. What programs make effective use of background music and sound effects? How does sound enhance the spoken word, or the visual scene? How does it stir the imagination, and increase the emotional response? 6. What qualities make a recorded voice attractive? (Consider volume, pitch, speech defects, tone, pace, pauses, variety, personality, pronunciation, enunciation.) Speech faults become self- evident when students listen to the playback of a tape recording of their voices. Suggested Topics for Simulated Broadcasts: 1. A radio or televised talk (information, instruction, publicity, news, dissent, comment, a review) 2. An interview 3. A panel discussion, or debate 4. A quiz show 5. An audience participation game 6. A commercial 7. Complete coverage of an event with a mobile unit 8. A satire. References For samples of broadcast material, Tape Library and Calendar Catalog distributed by the Audio Visual Services Branch, Department of Education, Government of Alberta, is highly recommended. Teachers who wish a copy of any previous broadcast may obtain one free of charge by indicating the desired broadcast and supplying a blank tape to be recorded. Books 1. Roberts, Edward Barry. Television Writing 6- Selling. Third edition. Boston, Mass.: Writer, Inc. 2. Chayefsky, P. Television Flays. Paperback. New York: Simon and Schuster, Inc., 1956. Note: For speech, listening, radio, and television activities, the tape recorder is a valuable — almost essential — piece of equipment. In these classes it can well become the instrument of a hundred uses. The following are a few illustrations: 1. Record and play back students' speech used in discussion in oral reports, in short speaking assignments, in panels and symposia. 2. Record and play back students' oral reading and recitation. 3. Let students record the way that intonation signals meaning. 4. Illustrate the correct pronunciation and enunciation of words. 5. Record TV and radio programs for temporary use in classroom. 6. Recitations of poetry and drama by effective speakers. 7. Record and play back a variety of exercises to develop students' listening skills. 99 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH G. BUSINESS CORRESPONDENCE The business letter serves as liaison between producer and consumer, between employee and employer, between salesman and customer, be- tween citizen and government. It provides a permanent record of the subject of correspondence, and may be as binding as an actual contract. Since it takes the place of person-to-person conversation, it must at times be persuasive, coercive, friendly, even sympathetic. Because these students may have had instruction in writing business letters in previous grades, they should be given a limited amount of practice and instruction in writing the more difficult types of business letters, such as letters of application, complaint, and rejection. Emphasis should be placed on the message rather than the format. English teachers of Business Education students should note that the following skills are taught in Business Education courses: Grade XI Level In Typing 20 and in Office Practice 20, the students learn to copy at least four different forms of business letters. They learn the proper names for each of the letter parts, and the correct spacing to use in order to place letters of varying lengths on standard letterhead. They spend a good deal of time in memorizing the exact placement of the business letter so that it will present an attractive appearance. At this level, in Office Practice 20, they are working with business correspondence on a routine level; therefore, the mechanics of the letter itself forms the basis of their experience. However, In examining so main- types of letters they form a body of know ledge about opening paragraphs. closing paragraphs, types of signatures, clarity, brevity, forcefulness. etc. They may compose a few very simple letters such as a junior stenographer would be permitted to type in an office: letters of inquiry, letters request- ing reservations, letters to accompany requests for catalogs, letters regarding meetings, letters of acknowledgment. However, their letter writing skill is developed on an associative rather than creative basis at this level. They have to develop so much skill in producing the letter at their typewriters that more needs to lie done in the way of practice in composition of the letter itself. Grade MI Level In Oiliee Practice 30, students are given much more practice in composing at the typewriter, The mechanics oi letter writing are reviewed and composition or more difficult letters is introduced. However, again, since so much time is allowed lor the actual production ol the letter, the correct form, the correct spacing, the correct handling ol carbon and file copies, the folding oi letters for varying envelope sizes, the handling of incoming and outgoing correspondence, much remains to be done in the creati* I the letter itself. This is a very important area indeed, in the office worker's life and it is at the same time a weakness in the majority ol business education students. 100 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH IV CORRELATION OF LANGUAGE AND LITERATURE A. ENGLISH 23 Support for the integration of language and literature is based on the following concepts: 1. Recent research indicates that some of the time that may be spent in students writing a "Theme a Week" may be just as productive in improving language skills if devoted to the reading and discussion of good literature. 2. In studying about the English language, and in trying to improve skill in the use of language, students need to examine the works of men and women who have achieved a degree of excellence in using words to communicate thought and feeling with precision, clarity, and force. 3. The study of selections in the literature program can provide a variety of activities that require the student to gather ideas, to organize his thoughts, and to use all of the communication skills — reading, listen- ing, speaking, and writing. Some Language Skills and Concepts to be Developed Through Language- Literature Integration 1. Preparing Reports and 2. Expository Articles (a) Organizing Material (b) Making a Topical Outline (c) Making a Sentence Outline (d) Beginning the Report (e) Developing a Report (f) Giving an Oral Report (g) Writing Paragraphs (h) Transition between Paragraphs (i) Different Kinds of Paragraphs (j) Using Details, Comparison, Contrast and Examples (k) Introductions and Conclusions Suggested Activities Related to Ap- propriate Selection from the Recom- mended Texts Make a topical outline that may have been used by one of the writers. Make a sentence outline of any one of the selections Make an outline you might use to take a position opposite to that of any of the writers in What do you think? Discuss the varied ways in which writers develop paragraphs (for ex- ample, use of illustrations; use of con- trast; use of facts and use of exaggera- tion). Note the various methods by which writers achieve transition within para- graphs and continuity between para- graphs. Examine the techniques used by writers to achieve interesting introduc- tions and effective conclusions. Find and discuss effective narrative, descriptive, expository, and argument- ative paragraphs. Note how writers achieve unity within paragraphs. 101 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Using information gained from dis- cussions, prepare oral and written reports: Write a "slanted" article on a con- troversial topic. Write an editorial supporting or op- posing the position taken by any writing. Practice changing statements from one level to another: from concrete to ab- stract, from connotative to denotative, from cliched to original, and from figurative to literal. Note the effects of clarity and the emphasis of certain feelings and ideas. Reading Newspapers Intelligently (a) The Functions of Newspapers (b) What Constitutes News? (c) How News is Written (d) The Slanting of News (e) Writing Editorials (f) Letters to the Editor Vocabulary and Usage (a) "The Levels of Usage" (Guide to Modern English, Ch. 1) (b) Using Concrete Words (c) Connotative Words (d) Avoid Cliches (e) Figures of Speech (f) Etymology; interesting deriva- tions of words R. ACTIVITIES FOR ENGLISH 33 1. Reading (a) Emphasis placed upon improvement of reading skills. (b) Encouragement of wide reading from books and current periodicals. (c) Practice in note-making. 2. Magazines (a) Informal study integrated with all other materials, for example, short stories, essays, editorials in magazines, related to the study of the short stories and essays in textbook. (b) Supplement materials with the reading and discussion of content selected from current magazines. 3. Essavs (a) From Reinert. Working with Prose, select the essa\s that may he most suitable to your (lass. il) Use the ess.us as a hasis lor expository writing. (< l)isiiiss current problems introducted by such essa\s as the fol- low ing; "The Decline of Sport" "Heavy, Heavy, What Hangs Over?" "Eleven Blue Men" "American Youth (iocs Monogamous" "Know \\ hal You Want" "Selling the Kiddies" 102 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH (d) Essays in the textbook may be supplemented by others chosen from newspapers, periodicals, and anthologies. A number of teachers have found the following collections very useful for reading, dis- cussion, and motivating student writing: Davies, Robertson, The Diary of Samuel Marchbanks Donahue, To Talk of Many Things (Longmans) Priestly, J. B., Delight Read, S. S., Comparative Essays, Present and Past (Noble and Noble, New York) Gordon and Rowbuck, Twentieth Century Prose (Clarke, Irwin) Galsworthy, John, The Inn of Tranquillity Leacock, Stephen, Literary Lapses Nicol, Eric, Sense and Nonsense: A Herd of Yaks Thurber, James, Carnival 4. Short Stories (a) In discussion, concentrate upon the people in the stories — their incentives, motives, barriers, behavior. Give some attention to theme and idea. Indicate the relationship between form and con- tent, but do not dwell unduly upon techniques. (b) Wherever possible, use stories in the text to initiate reading of stories from other anthologies, of which the following are representative: Certner and Henry, Short Stories for Our Times (Houghton-Mifflin) Dirlam, Mary, Hit Parade (Teen-Age Book Club) Jennings and Calitri, Stories (Harcourt) Kingston, E. F., Galaxy of Short Stories (Book 1-3) (Book Society) Lass and Horowitz, Stories for Youth (McGraw-Hill) Schaefer, Jack, Out West (Houghton-Mifflin) Scoggin, Mary, Chucklebait (Knopf) Strang, et al., Teen Age Tales (Books 1-5) (D. C. Heath) Taggard, Ernestine, Ticenty Grand ( Bantam Paperbacks ) Weaver, Robert, Canadian Short Stories (Toronto; Oxford) For more Advanced Students: Cerf, Bennett, Great Modern Short Stories (Modern Library) Davis, R. G., Ten Modern Masters (Harcourt, Brace) Havighurst, Walter, Masters of the Modern Short Story ( Harcourt, Brace ) 5. Poetry (Optional Eng 33) 1. Select from a book in terms of class needs and sophistication. 2. Emphasize idea, feeling, tone, rather than poetic devices. 3. Some teachers may wish to use discussions as an introduction to poems in anthologies. The following collections may prove useful: Kingston, E. F., Poems to Remember (Dent) Langford, W. F., Grass of Parnassus (Longmans, Green) Lieberman, E., Poems for Enjoyment (Harper) Untermeyer, L., Modern British Poetry. Modern American Poetry. Story Poems. Anthology of Great Poetry. Williams, Oscar, The Netc Pocket Anthology of American Verse ( Pocket ) 103 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 6. The Novel Class study of a novel may be productive in stimulating the reading of other novels and in making students more perceptive readers of fiction. It is recommended that the class select one novel from the following: Non-Fiction Students may wish to select one or more of the books in this category for reading outside of the class. The following are representative of books on science, travel and biography: Beebe, W., Exploring With Beebe (Putnam) Buck, Pearl, My Several Worlds (Pocket; Thorpe) Carson, R., The Sea Around Us (Oxford, New Am. Library) Churchill, W., My Early Life (Scribner's) Day, Clarence, Life with Father (Arrow) Franklin, Benjamin, Autobiography (Holt, Rinehart) Bilbreth and Carey, Cheaper by the Dozen. Belles on their Toes ( Crowell ) Hertzog, M., Annapurna (Dutton) Heyerdahl, T., Kon Tiki (Pocket) Hillary, E., High Adventure (Pocket) Johnson, O., / Married Adventure (Lippincott) Kennedy, J. F., Profiles in Courage (Pocket; Thorpe) Pepys, S., And So To Bed (Bestseller) Rose, A. P., Boom For One More (Houghton) Sandburg, Carl, Ahvays the Toting Strangers Schweitzer, Out of My Life and Thought (New English Library) Twain, Mark, Life on the Mississippi (Signet) Selected References for Teachers Book Lists American Library Association, A Basie Book Collection for High Schools (American Library Association, Chicago), 50 East Huron St., Chicago. 111. 60611. Guide for High Schools, Annual Paper Bound Book (Bowker, R. R. Company), 1180 Avenue of the Americas, New York. N. Y. 10036. National Council of Teacher of English, Books for You (The N.C.T.E., 508 South Sixth Street. Champaign, Illinois) Longmans, Toronto (Write for their Paperback Catalog.) Whitaker, Paperbacks in Print (J. Whitaker and Sons, London) On (.'lass Organization and Instruction Heeler, A. J., Providing for Individual Differences in English (pamphlet) (The N.C.T.E., Champaign. Illinois) Burton, Dwight, Literature Study in the High Schools ( New York: Holt Dryden) (.nth, II. ins P., English Today i- Tomorrow: A Guide for Teachers of English ( Prentice-Hall) Hook. \. J.. The Teaching of High School English { Ronald Press) Weiss. \1. [., An English Teacher's Header (Odyssey Press) 104 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH C. DRAMA ACTIVITIES FOR ENGLISH 23-33 1. Relate to stage, screen, television, and radio drama, with emphasis on critical enjoyment. 2. Discuss plays to be read or acted, with attention to ideas, dramatic qualities and character portrayal. 3. Teach one or more plays selected from the list. For the English 23-33 student, the study of the Drama is more con- cerned with the play as a mirror (true or distorted) of life than as an art form. Rather than stress the traditional analytical factors of ante- cedent action, climax, and denouement, it would be more appropriate to discuss the ways in which a play reveals: (a) Character, both realistic and stereotyped; (b) Theme, especially as it relates to the time of the play and to the contemporary scene; (c) Appeal, especially the ways in which a play would have dif- ferent appeal for different people; (d) Playwright's stagecraft, especially the ways in which a play becomes theatrically exciting through such techniques as sus- pense, foreshadowing, surprise, shock, discovery, intense con- flict, stage directions for lighting, setting, music. Such an approach applies equally well to the enjoyment of a Shake- spearean play as well as to the modern play. The English 23-33 student, unencumbered with the requirements of literary analysis, can enjoy a reading of a Shakespearean play if allowed a relatively uninterrupted sweep without worrying about understanding every word or phrase. Especially for the English 23 - 33 student "the play's the thing" and not the ability to take the play to pieces as it is read. With the exception of "An Enemy of the People," all the plays listed for the English 23 - 33 courses are available in film versions. The Shake- spearean play and "My Fair Lady" are available on long play records. Personal preference decides whether a class is given the film version or record version before a class playreading. Where conditions for creative dramatics have been established, the greatest appreciation of drama would come with a class workshop pro- duction of a whole play or of one act or scene. Several Alberta schools have established a working liaison between the English and Drama departments so that a portion of each play studied is presented by the drama students in informal classroom situations. The English classes then question and comment on the production with the actors and director before them. Written assignments on drama for the English 23 - 33 student may reveal greater writing motivation if the student is encouraged to express his opinions on the appeal of the play, using examples from the script to support his ideas. 105 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH Teacher References: 1. Loban, W., et al. Teaching Language {? Literature: Grades Seven to Twelve. New York: Harcourt, Brace and World, Inc., 1961. pp. 323-350. 2. Guth, Hans P. English Today i~ Tomorrow: A Guide for Teachers of English. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1964. pp. 327-329. For objectives of drama teaching. 3. Ellis, W. A Teachers Guide to Selected Literary Works. Available without cost to bona fide literature teachers from local paperback supplier of Dell publications. Note: Both the free teachers' guides contain sample questions on a wide variety of plays which, although not required for the English 23-33 drama outline, contain many useful projects and questions on drama applicable to the English 23 - 33 course. 4. National Council of Teachers of English, 508 South Sixth Street. Champaign, Illinois, 61820, U.S.A. The English Journal. Hook, Frank S. "So You're Going to Teach Shakespeare?", Nov- ember, 1967. Coen, Frank. "Teaching the Drama", October, 1967. Natan, Norman. "Shakespeare's 'The Plav's the Thing' ", January, 1967. Meadows, Robert. "Get Smart: Let T.V. Work For You", Decem- ber, 1965. Sweet, John. "Directing Your First Play", November, 1965. Albert, Richard. "An Annotated Guide to Audio-Visual Material for Teaching Shakespeare", May, 1965. W7right, Louis B. "Shakespeare for Everyman", April, 1964. Veidemanis, Gladys. "Shakespeare in the High School Classroom", April, 1964. D. POETRY ENGLISH 23 The text, Poetry of Relevance, Book 2, is an attempt to bridge the gap between traditional poetry and popular modern poetry in the folk idiom. The text contains a wealth of resource materials that can be adapted to the wide range of abilities and interests of individual stu- dents. The Introduction, and the Suggestions For Study indicate many of the approaches that can be taken to the poetry. ILLUSTRATIVE UNITS ON MAGAZINES AND NEWSPAPERS A. MAGAZINES An introduction to a wide range of magazines could help to develop standards and levels of appreciation. 1. Suggested Activities for Developing the Unit. a. Functions of Magazines. Individual or group reports in which different magazines arc analyzed for content: i. entertainment ii. information in. comment iv. advertising 106 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH b. History of magazines (Encyclopedia Britannica, Encyclopedia Americana, etc., see Periodicals. ) c. Types of Magazines: Quality, Slick, Pulp. Many of the magazines which students choose will contain some stories and articles which are superficial and unworthy of an- alysis. Teachers cannot hope to eliminate these magazines from students' reading, but can strive to extend their range of interests so that they will find pleasure and see distinctions in many kinds of expression. Compare stories in pulp, slick, quality magazines: i. What are the characteristics of the typical hero? ii. What are the characteristics of the typical heroine? iii. Is the language living or cliche-ridden? iv. How much personality comes through the dialogue? v. Is it merely a simplified narrative? Most English 23 and 33 students will not appreciate quality magazines (e.g., Atlantic, New Yorker, Harpers, Holiday) unless articles and stories are carefully selected for reading (e.g., Atlantic articles under "Accent on Living" are usually within their scope and interest; also an occasional poem, article or short story). d. An analysis of one magazine: i. Short Stories ii. Articles: — Are the non-fiction articles accurate, timely, informative, thought-provoking? — Are they unbiased and fair? iii. Advertising — What proportion of the magazine is devoted to adver- tising? — Where is it placed? Why? — What kind of products are advertised and to whom do they appeal? — Are advertisements chiefly in black and white or in color? iv. Special departments: letters to editor, book reviews, movie reviews, cartoons, jokes. v. Artwork — Are many illustrations used? Why? — How are colors and black and white used to produce different effects? — How do they stimulate interest? vi. Cover appeal vii. Editorials 107 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH e. Advertising — see the section on semantics in this guide: i. Propaganda devices ii. Study words, pictures, sounds used to persuade and influence — The exactness or vagueness of language used — Are the claims made for the product logical, misleading or exaggerated? — Are the appeals made to emotions and values that have nothing to do with the product, e.g., snobbery, status, loneliness, sportsmanship, sex? — What slogans are used? iii. Select one advertisement — Is there any evidence that this product is better than others? — What claims are made for the product and are they sup- ported with evidence? — Pick out words or phrases which sound persuasive or impressive. Criticize one of them. — Do you feel convinced that the product is worth buying? State reasons for or against. — Study pictures — how are they connected with the product? Suggested Activities for Concluding the Unit a. An oral report (or written paragraph) stating reasons for re- commending a magazine. b. An oral report (or written paragraph) by a student listing what he would like to see eliminated or improved in a magazine. c. Have the student write a reply to a letter appearing in a magazine. d. Compare certain aspects of two magazines of the same type. e. An oral report (or paragraph) on what I should like to see in a magazine for teenagers and why. f. Think of a new product and draft two advertisements, one rea- sonable and one not, for inclusion in a good teenage or school magazine. g. Analyze a Utter to the editor pointing out the bias or slant of the writer. h. Clip some short articles (not more than one page) from a maga- zine and paste each on a sheet of paper. Remove the titles and paste on the back. Pass these sheets out to the individual students requesting that they do not read the reverse side. Each student studies the article and writes his own headline and then coin- pares it with the original, ("lass discussion follows. i. Students often have difficulty becoming aware of inference. Mag- azine jokes, cartoons, advertisements can he used cllcctivclv to develop awareness <>l inference, Jokes used lor Fillers often d^ pend upon faulty inference For humor. Examine |okcs. cartoons, advertisements. 108 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH j. Discuss in class the metaphorical language in Time and Sports Illustrated. k. Clip book reviews from magazines. Give one to each student, allow about 20 minutes for study, then exchange. Note character- istics which seem to be common to many reviews. Discussion. 1. Read an informative or critical article and discuss for opinions with which you agreed or disagreed, giving reasons. 3. Types of Magazines a. General: (short stories, serials, articles, pictures, cartoons). Ex- amples: Cosmopolitan, tiedbook, Macleans, Saturday Night. b. News (national and international reports on government, politics, science, the arts, finance, professions, etc.). Examples: Time, Newsweek, U.S. News and World Reports. c. Picture: (pictorial presentations of news and featured articles). Examples: Life, Look, Ebony. d. Literary: (short stories, essays, articles, poems, book reviews of high literary quality). Examples: Atlantic Monthly, Saturday Re- view, Harpers Monthly. e. Commentaries: (interpretation and evaluation of history, current issues and problems). Examples: World Affairs, Senior Scholastic, Canada Month. f. Digests: (condensations of articles and books). Examples: Reader's Digest, Coronet, Catholic Digest, Science Digest. g. Special Interests: Women: Ladies' Home Journal, Good Housekeeping, Vogue, Harpers Bazaar, Charm, Glamour, Mademoiselle, Chatelaine. Youth: Seventeen, Scholastic, Young Miss. The Arts: Etude, Theatre Arts, Art News, American Artist, Per- forming Arts in Canada. Business: Business Week, Fortune, Canadian Consumer. Travel: Holiday, National Geographic, Travel. Science: Popular Mechanics, Aviation, Flying, Popular Science, Science, Scientific American, Mechanics Illustrated. Other Examples: American Home, House and Garden, Better Homes and Gardens, Sport, Farm Journal, Photography, Radio and TV News, Field and Stream, Sports Illustrated, Rod and Gun in Canada. B. A UNIT ON THE NEWSPAPER 1. Introduction The daily newspaper, which costs only a few cents a day and is available everywhere, can assist in the achievement of the objectives for English 23 and English 33. It can increase students' understand- ing and appetite for knowledge, develop their ability to capture ideas from the printed page, and encourage them to read with discrimina- tion and to separate fact from opinion. 109 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH The unit that follows, created as a result of teacher workshops, contains more material than any class can cover completely within the time limits imposed by English 23 and English 33. However, it is expected that each teacher will select those activities that may prove interesting and profitable to his classes. It is suggested that teachers who choose to use this unit spend no more than four weeks total time on the activities outlined in the pages that follow. 2. Objectives: a. To encourage students to become regular (and discriminating) readers of newspapers. b. To use newspapers as a basis for stimulating activities involving careful reading, clear thinking, and effective speaking and writing. 3. Suggested References: Committee on Modern Journalism ( Siegfried Mandel, Advisory Edi- tor). Modern Journalism. Toronto: Ontario: Pitman Publishing Corp.. 1962. Clear, comprehensive, with a wealth of exercise materials. Modern Journalism is a text which provides ample background knowledge for teaching the newspaper in the classroom. 4. Initiatory Activities: a. from a local source (usually at no charge), and b. from the Educational Services Department of many large city newspapers. Also available upon request from newspaper business managers are kits of materials (including dummy sheets, lead casts, matrices Several approaches for introducing the study of the newspaper are listed below: a. The Historical Approach b. The Discussion Approach i. Controversial statements and challenging questions may be discussed. ii. Specific1 sections of the paper may be considered with regard to their interest and importance. Small groups may report tin- paper's coverage of: news sports humor. c. The Bulletin Board Approach d. The \udiu \ isual Approach e. The Interview, or Cuesl Speaker, Approach [nvite an editor or reporter to talk to the class about his work. 110 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH f. The Tour Approach g. The Comparison Approach Two or more newspapers are compared with respect to news, features, editorials, cartoons, syndicated columns, advertising, etc. 5. Developmental Activities a. The History of Journalism (if not covered in the initiatory stage of this unit) b. The Role of a Good Newspaper in the Community Five requirements of a good newspaper are: i. A truthful, comprehensive and intelligent account of the day's events in a context which gives them meaning; ii. A forum for the exchange of comment and criticism; iii. The projection of a representative picture of the constituent groups in the society; iv. The presentation and clarification of the goals and values of society, and v. Full access to the day's intelligence. In determining the criteria of a "good" newspaper, consider Flesch's Formula, Modern Journalism, pp. 86 - 87, and Language Today, pp. 189 - 191. c. How News is Gathered See Chapters 15 - 25 of Modern Journalism. d. The Function of Different Newspaper Sections i. the front page ii. the editorial page iii. the sports page iv. the financial page v. advertising. e. Types of Newspaper Stories Consider: i. interpretive ii. speculative iii. promotional iv. propaganda v. argumentative vi. expository. More specifically, Modern Journalism divides newswriting into several general types: spot news, interview, speech report, personal news, publicity, and feature review and column (pp. 341-347). Ill SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH The human interest story might be used to show how events in the feature are not necessarily important in themselves but may evoke such emotional responses as: — curiosity — laughter — pity — imagination (Every human interest story has emotional impact.) Discuss headlines and leads in human interest stories. f. Study of Specialized News A study of other news might include: obituaries, financial news, real estate, shipping and mails, business news, foods and furnishings, fashions, weather, news and the arts. At this point a teacher might wish to include some of the earliest "newspaper editorials" such as Steele's "Tatler" and Ad- dison's "Spectator". g. Editorials — The Voice of the Paper There are many types: critical, interpretive, informative, explanatory, controversial, etc. Modern Journalism deals with editorials in Chapter 25. h. Pictorial Journalism a. power of photography and cartoons b. limitations of photography and cartoons. i. Advertising There are two main types of advertising: a. display b. classified. Modern Journalism, Chapter 10 j. Propaganda i. Terms such as bias, slant, and improper editorializing — definition — dangers — emotional appeal. 112 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH ii. Give a class practice in detecting various propaganda devices: — purposeful distortion — ambiguity — appeal — emotion — cherished values - hope - fear — name calling - Yankee - rebel - sissy — glittering generalities - religions - science - brotherhood. Students should become familiar with such newspaper terms as lead, and headline. 6. Culminating Activities a. A class may produce its own "newspaper". b. A class may visit its local newspaper plant. c. Groups of class members may present panels, debates, and/or forums. d. Comparison tests may be given. Students are each given two different newspapers. Each compares the two in the manner required by the teacher. e. Students interview interesting members in the school or com- munity. Reports are given in oral or written form. f. Each student is given a news story. He writes a news story on a different topic imitating the structure and style of the first. g. Students write an editorial for the school newspaper. h. Students report on research project which has been completed, e.g., a student may have decided to make a collection of different editorials from various sources. i. Students are given a number of articles, features and editorials. They are requested to write one headline for each. j. Individual talks are given on related subjects, e.g., "The news- paper of the future". k. Analyze one day's newspaper, reporting upon its slanted writing, evidences of censorship and type and amount of advertising. 1. Groups of students present simulated news broadcasts about in- teresting events in history or fiction. m. Have one or more guest speakers from the local daily newspaper. 113 SENIOR IIK.H SCHOOL CURRICULUM GUIDE FOR ENGLISH ENGLISH 30 I. INTRODUCTION English 30, a five-credit course for matriculation students, is designed to assist the teacher in attaining the following objectives: A. To improve the student's ability to read and listen with understanding, to think clearly, and to express his ideas effectively in both speech and writing. B. To increase the student's interest in and knowledge of literature through reading, study, and discussion of a wide and varied selection of essays, short stories, poetry, novels, and drama both past and present C. To increase the student's ability to recognize the qualities of good litera- ture so that he may choose his own reading with discrimination. II. MATERIALS A. Short Stories Text: Perrine, Laurence, Story and Structure. New York: Harcourt, Brace and World, Inc., 1966. Teacher and class will select a minimum of ten stories for class discussion and independent reading by students. B. Essays Text: Buxton, et al. (Editors), Points of View. Scarborough, Ontario: W. J. Gage Limited, 1967. Teacher and class will select minimum of ten essays for class dis- cussion and independent reading by students. C. Poetry 1. Text: Charlesworth and Lee (Editors), An Anthology of Verse. Toronto: Oxford University Press, 1964. A number of poems to be selected for class discussion and independent reading. 2. From the following sources, one or more poets to be studied in depth: a) Leggett Glen (Editor), 12 Forts. New York: Rinehart and Com- pany, 1958, or Shakespeare, Donne, Pope, Wordsworth, Keats. Browning, Emily Dickinson, Housman, Yeats, E. A. Robinson. Frost, T. S. Eliot. Introduction and notes on each poel in the following: b) Chaucer: Canterbury Tales (Croft Classics) c) Coleridge: Selected Poems (Croft Classics) d) Donne: Selected Foetus (Croft ("lassies) e) Keats: Selected Foems (Croft Classics) f) Tennyson: Selected Foems (Croft Glassies') g) Hopkins: Selected Foems and Frosc (Penguin) hi Cummings, E. E.: Selected Foems (Faber) i) Shakespeare: Renaissance Poetry (Prentice Hall) j) Poets of Mid Century (MacMillan) 114 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH D. Novels One or more to be studied from the following list: Bronte, Emily Wuthering Heights Callaghan, Morley The Many Colored Coat Cary, Joyce The Horse's Mouth Conrad, Joseph Lord Jim Conrad, Joseph Heart of Darkness Dostoevsky, Fedor M Crime and Punishment Dreiser, Theodore An American Tragedy Eliot, George Adam Bede Forester, E. M Passage to India Grove, F. P Fruits of the Earth Hardy, Thomas Return of the Native Hardy, Thomas Tess of the D'Urbervilles Lederer & Brudick The Ugly American Lewis, Sinclair Arrowsmith Melville, Herman Billy Budd Orwell, George 19S4 Paton, Alan Cry, The Beloved Country Steinbeck, John Grapes of Wrath E. Drama One or more Shakespearean and one or more modern plays from the following list: 1. Shakespeare Macbeth Hamlet Henry TV (part 1) Anthony and Cleopatra Othello 2. Modern Plays Brecht, Bertold The Life of Galileo Ibsen, Henrik A Doll's House Miller, Arthur Death of a Salesman Shaw, G. B. Caesar and Cleopatra Sheridan, Richard B. The Rivals F. Language Corbin, Perrin, and Buxton, Guide to Modern English, Scarborough, Ontario: W. J. Gage Limited, 1959. G. Teacher References 1. Loban, Ryan, and Squire, Teaching Language and Literature, New York: Harcourt & Brace, 1961. 2. Guth Hans, Enalish Today and Tomorrow, Englewood Cliffs, N.J.: Prentice-Hall, 1964. 115 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH III. GENERAL SUGGESTIONS FOR READING, DISCUSSION AND WRITING A. The class study of drama, short stories, poetry, essays, and one or two novels should help students to become aware of the meaning, the impli- cations, the writer's intention, and, to some degree, the artistry that contributes to the value of the work as a piece ot literature. The following group of questions may suggest a few guidelines: 1. What is the writer saying about man and his motives, dreams, and ideals; his relationship with other men and the world in which he lives; his conflicts, strengths, weaknesses, successes, and failures? What is the writer's point of view toward his characters? What is his view of life? What is his purpose? Is he optimistic, pessimistic, didactic, satirical, logical, emotional, critical, informative, or ironical? 2. Why did the writer choose the particular genre — sonnet, ballad, short story, drama, novel, or essay — that he used to present his message? Why did he select certain words and images? What is the relationship between the form of the selection and its content? How has the writer manipulated language or exploited its resources to achieve clarity or force? Where has he succeeded in attaining his objectives and where has he failed? 3. How is the selection related to other selections in point of view, theme, design, or treatment of the material? How are similarities and differences revealed? B. In searching for the meaning, implications, purpose, and artistry of a piece of literature, the class should have many opportunities to become involved in discussion. Though there will be times when the teacher is required to lecture briefly, teacher exposition should not dominate litera- ture classes. Perhaps our constant temptation to tell the students "all we know" can be resisted if we keep in mind the idea that a discussion of literature should help students to develop certain skills and abilities as well as knowledge. It is hoped that as a result of a year's work in litera- ture, each student will have grown in the following: 1. The ability to gather information from reading and listening. 2. The ability to express ideas clearly in speech and writing, using a level of English appropriate to the topic and the situation. That is, in an informal situation there is nothing "incorrect" about calling someone a square, or a creep, or a nice guy, or a pretty good fellow, however, in discussing Clyde Griffiths in An American Tragedy or the villagers in "The Lottery", students should be "reaching" for words that will describe character with precision: terms like- callous, ruthless, ingenious, ingenuous, versatile, integrity, introvert, and inferiority complex have a place in a classroom where human be- havior is being analyzed. 3. The ability to support ideas by reference to the selection being dis- cussed or to the life of its writer or to other selections — and to revise opinions in the li^ht of new information contributed by other class members. 4. The ability to look upon a class discussion as a cooperative search for truth rather than as a competition; that is. the student needs to learn to discuss ideas objectively and dispassionately with the understanding that a classmate's opposition to his ideas is not to be considered a personal attack. 1 16 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH The foregoing suggestions indicate procedures that will integrate litera- ture and language activities. This integration is considered important, because a growing body of research indicates that one develops skill in using language as he increases his knowledge of words, his under- standing of varied sentence patterns, and his awareness of the devices used by effective speakers and writers when they attempt to evoke a response in their listeners or readers. That is, the student's knowledge of words and their ways will undoubtedly be increased by wide reading; it may also be increased by an examination of a selection of literature as a composition with the objective of finding out what good writers do when they put words together to communicate thought. The follow- ing may suggest some of the ways in which literary selections can be used as a basis for discussions about language and rhetoric: 1. Examine some of the vocabulary used in a selection, giving some attention to the derivation and changes in the meaning of words (etymology); to the levels and varieties of usage that depend upon time, place and situation; to illustrations of national and regional dialects; to words like recognize, cognomen, and incognito that are related to each other by being structured from the same roots. 2. Without becoming too involved in all the terms used by linguistic scholars, give some attention to semantics: discuss denotation and connotation, the figurative use of language, "loaded words", "purr words" and "snarl words", and the writer's reason for selecting the words that he used from the abundant synonyms which give the English language its power and its flexibility. 3. Assist the student to increase his recognition vocabulary by using not only the dictionary but context clues, past experience, and his increasing knowledge of roots and affixes. Attempt to develop his awareness of the structure of words by having him examine the words themselves, rather than having him try to memorize lists of prefixes and suffixes; that is, encourage an inductive approach to language. 4. As the student increases his knowledge of words, encourage him to transfer words from his "recognition" vocabulary to his speech and writing. For example, a student may know the meaning of callous or ruthless when he meets it in his reading; he may not use die word unless he is participating in an English program that places some emphasis upon the value of selecting the most precise word to com- municate an idea. The student also needs to distinguish between the most appropriate word and the biggest word; we are looking for clear writing, not inflated writing. 5. Analyze the occasional paragraph to find out how writers achieve variety in sentence structure. Note the use of balance, parallelism, parenthetical expressions, interruption, change of word order, loose periodic, and aggregating sentences, coordination and subordination. If grammar is to be a part of the program, use the principles of modern grammar developed by linguists rather than vague definitions and prescriptions. That is, concentrate upon inflection, derivational affixes, form classes, structure words, and basic sentence patterns. If a teacher has not developed some understanding of modern linguis- tics he is advised to omit a formal study of grammar from his pro- gram, rather than spend class time on the so-called "traditional" grammar, because it is an inadequate and inaccurate description of the language, it holds little interest for students, and it has been 117 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH shown to have a negligible effect upon one's ability to use bis language. To the teacher who has some acquaintanceship with modern grammar, any good piece of prose or poetry can serve as a corpus for an investigation of the forms and structures of the English language. 6. Help students to see how good writers use concrete illustrations, example, irony, paradox, and imagery to assist the reader to visualize and to respond. The teacher will find abundant illustrative ques- tions and suggested procedures in Loban, Ryan and Squire, Teaching Language and Literature; Laurence Perrine, Srory and Structure; Margaret Ryan, Teaching the Novel in Paperback; the Introduction to Points of View; and in Section IV of this guide, "Suggested Approaches to Different Literary Materials." 7. Examine the ways in which writers organize their material to achieve unity and continuity. What are the main ideas? Is support for the ideas based upon the writer's opinion, his experience, observation, experiment, reading, or statements by authorities? How are the writer's paragraphs developed — by anecdote, illustration, examples, comparison, contrast, narrative, or a combination of these? Occasionally the student may attempt a brief outline of a poem or essay to discover how it is structured. This examination of what other writers have done may provide the student with some guidance for achieving logical development in his own writing. 8. Sometimes the work of a good writer can be used as a model to guide the student in his attempts to achieve new and varied effects in his writing. For example, students may attempt to describe a restaurant, a supermarket, or the lunch hour in the school cafeteria, using as a model Steinbeck's terse description of the hamburger stands along Route 66 in The Crapes of Wrath. Or Robertson Davies' single-paragraph essays in The Diary of Samuel Marchhanks may offer suggestions to students who wish to present a humorous account of some aspect of contemporary life, such as TV advertising, school elections, or the tests and procedures involved in securing a driver's license. In his English Today and Tomorrow (an excellent reference for high- school teachers), Hans Guth discusses these relationships between literature and language at some length. His general thesis is expressed in the following statements: The first business of instruction in rhetoric is to expose the student to the written word. By and larpe. the effective writer is the one who has first been a voraeious reader ... If instruction in rhetoric is to bear fruit, the student must see the strategies and devices of pood prose at work in a wide variety of reading, assigned and unassigned.1 D. The forepoinp discussion implies that an important criterion for deter- mininp the success of this program is the amount of student growth in the ability to read materials independently, to make" reasonably valid judgments about literature, and to assume leadership roles in class presentations and discussions. As the term progresses, various oppor- tunities for students' acceptance of responsibility should frequently 'Hans Clltb, English T(xl(i\j arul Timunrow. Engfewood Cliffs, New Jcrsrv. Pmntice-HaH, 10W 118 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH a consultant, a "referee" rather than a dispenser of information. Many teachers have found that students in these classes can make very effec- tive contributions by participating in such activities as the following: 1. After some preparation, each student may accept responsibility for leading a class discussion on a short poem. 2. A small group of students accepts responsibility for presenting infor- mation and leading a discussion of the work of a single poet. 3. A group of students presents a "poetry reading" program to a number of classes in the auditorium or to a meeting of parents or teachers. 4. A group of students leads the discussion of a Shakespearean or modern play, and a second group illustrates the discussion by pre- senting one or more scenes from the play being discussed. 5. A panel of students discusses a novel or a short story, giving some attention to such aspects as the writer's purpose, and his theme, plot, characterization, and success or failure in producing an artistic piece of work. IV. SUGGESTED APPROACHES TO DIFFERENT LITERARY MATERIALS The suggestions in this section have been given by a number of teachers who have used many of the materials in experimental programs during the year 1966-67. Because it is understood that methods which are effective for one teacher or one class may not always be successful for other teachers in different situations, the approaches, topics and student activities listed in the pages that follow are to be considered as suggestions only. All teachers of English 30 classes are encouraged to select the materials and to try various methods that they think most appropriate to the interests and aptitude of their students. A. Short Stories 1. The prescribed anthology of short stories, Story and Structure, con- tains a wealth of resource material for presenting this section of the course. Part One of the text has nine divisions, each dealing with a specific element of the short story. The divisions are as follows: 1. Escape and Interpretation 2. Plot 3. Character 4. Theme 5. Point of View 6. Symbol and Irony 7. Emotion and Humor 8. Fantasy 9. The Scale of Value These elements are well illustrated in the stories which follow each explanation. In addition, many guide questions follow each story to assist both teacher and student in a mature interpretation. 2. Teacher References (Note: Prices may change without notice) Note: Prices may change without notice. a. Pannwitt, Barbara, The Art of Short Fiction. Scarborough, Ont: W. J. Gage Limited, 1964. ($2.75). 119 SKMOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH A discussion of the art of the short story followed by a number of excellent short stories by such writers as Mansfield, Crane, Bradbury, Chekhov, Conrad, Updike, Coppard, London, Melville, Kafka and Camus. Following each story are critical comments and questions for discussion. b. Current-Garcia and Patrick, What Is the Short Story? Scar- borough, Ont: W. J. Gage Limited, 1961. ($2.75). Twenty-seven essays about the development, structure, and functions of the short story, by such writers as Irving, Poe, Hawthorne, Chekhov, James, Hart, Mathews, Canby, Cory, Lardner, Shaw and Maugham. Also included are thirty short stories by outstanding writers, both past and present. B. Essays Loban, Ryan and Squire, Teaching Language and Literature, Chapter II "Logical Thinking" (p. 73-115) provides numerous practical suggestions for teaching the many essays which require a good deal of logical think- ing by the student. The introduction to the text. Points of View, discusses objectives, and suggests a number of procedurees. 1. Suggestions for Introducing the Essay a. FORM (1) How is the essay distinguishable from other prose forms such as the novel, short story, letter, biography, autobiography, diary? (2) Who first used this form of prose writing? (Introduce MONTAIGNE and his purpose for writing the essay.) (3) According to Carl Van Doren in "A Note on the Essay", what four characteristics distinguish the essay from other literary genre? (4) The essay is the best form for stating opinions. Emphasize the importance of the essayist having "something to sa\ (Read "What is Opinion?" by Randolph Boume). b. SUBJECT, THEME AND PERSONALITY Refer again to "A Note on the Essay" to show: (1) that there is no limitation on choice of subject, (2) that tlie treatment of the subject is of necessity dependent upon the personal opinion of the author, his particular theme, and his purpose — to amuse, to inform, to stimulate, to convince. (3) that specific subjects may be broadly classified under head ings such as: polities, religion, social morality, education, literary criticism, and humor. (4) thai what die author has to say about Ins subject will reveal Ins personality, his prejudices and his wisdom (or lack of it); the examples he chooses to support his arguments will 20 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH reveal his background, his breadth of experience and study. (Refer again to Montaigne and read his essay "Of Giving the Lie"). c. STYLE (1) Although a writer may be using the essay form, and although he may be talking about a commonplace subject, and even though his theme may have been used by other essayists, style will give his work individuality and freshness. (Read from the text the essays on education.) (a) "Of Studies" by Francis Bacon (b) "The Ignorance of the Learned" by William Hazlitt (c) "No School Report" by J. B. Priestley (Refer, to Carl Van Doren's "Note on the Essay" "Let him be more sententious like Bacon, etc." Use these three writers to study differences in style.) (2) A teacher's own selection of passages written in various styles may be presented to the student for comparison. In each passage the student needs to be aware of how the writer has used the tools of style to achieve clarity, emphasis, interest and uniqueness. For this reason the student might study such aspects as the following: (a) the choice of words, figures of speech, sensory impres- sions, implication and symbolism. (b) parallelism and sentence structure. (c) essay structure — the relationships of paragraphs, coherent development, transitional devices, introduction and con- clusion. (d) As a review the class might discuss some of the following questions and statements: (1) What is an essay? (2) Familiar essays and essayists. (3) "To write well is to think well, to feel well, and to render well; it is to possess at once intellect, soul and taste." (4) "What I like in an author is not what he says but what he whispers." (5) "He who is afraid to use an T in his writing will never make a good essayist." (6) "A good essay is one that will be read more than once." (7) "Style is a man's own; it is part of his nature." (8) "One hates an author that's all author." (If the short stories are taken first, one might move from Joyce Cary's short story, "A Special Occasion" to his essay, "What Men Live By.") 121 SKNIOR HIGH SCHOOL CURRICULUM GLIDE FOR ENGLISH 2. Suggested Approaches The following approaches are discussed briefly in the introduction to Points of View. a. Chronological Approach b. Thematic Approach Examples: (1) Luxury or Poverty, which is the better for man? (a) James Roswell — "On Wealth, Poverty and Merit". (b) Hilaire Relloc— "On Poverty" (c) Theodore Dreiser — "On Being Poor" (2) Education (a) Francis Bacon — "Of Studies" (b) William Hazlitt — "The Ignorance of the Learned" (c) J. B. Priestley — "No School Report" c. Comparative Approach Example: Compare the form, structure, and style of 19th century and 20th century essays. 3. Writing Based on the Essay a. General Reference: Loban, Ryan and Squire: Teaching Language and Literature, Chapter 10, "Written Expression" page 495-504 page 522-532 page 534-540 These references contain excellent material for teaching students to write essays. b. Some Suggested Topics (1) Discuss the theme of any one essay studied this term. The following questions are suggested guidelines for your answer: (a) What is the artist saying? (What does he mean?) (b) How does he say it? (What technique does he use?) (c) Why does he say it? (What is his purpose?) (2) "The observations of great writers are not pertinent only to the time in which the authors lived. Their conclusions are applicable to today's society and problems." Discuss the validity of this statement with specific references to any three essays written before the twentieth century. (3) "Every essay is a personal essay because the essayist ex- presses his personal viewpoints and gives evidence revealing the influences in his own life." Show how this statement can be applied to the work of any three essayists studied during this course. (4) Nonfiction aims at "the truth of correspondence"; that is, nonfiction should present information which corresponds to the facta of the world. Comment on any two essays you have studied this year that support or refute this statement 122 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH (5) "An ending must tie together satisfactorily all of the ele- ments which have been leading to it. For an author to introduce a new and unrelated element at the end is to cheat the reader." Show how the organization of any essay studied during this course does lead to the final observation of the essayist. (6) The satirist aims at improving humanity by holding its foibles up to ridicule. Choose any essayist using satire. (a) Identify what he is satirizing. (b) Discuss his use of such satirical techniques as irony, exaggeration, holding a mirror to life, ridicule. (7) From your reading of essays selected from four centuries of of writing, show whether man's attitude toward book learn- ing has changed in any way. Refer to specific essays to prove your argument. (8) Referring to an essay from each century, discuss whether man's attitude to woman has changed in the last four hundred years. (9) Randolph Rourne suggests that opinion is only valid if, like like a scientific hypothesis, it is an educated guess based on the widest possible survey of facts. Using Rourne's evalua- tion, discuss the validity of the opinion in one of the essays of your text. (10) Compare and contrast the contribution of Montaigne and Racon to the development of literary essay writing. (11) Discuss twentieth century essay writers as a mirror of our modern society and its problems. (12) Compare Addison and Steele with one or two twentieth century essayists as commentators on human behaviour. (13) Prepare a rebuttal to Thoreau's attitude of "simplicity" in "Life in the Woods". Support your position. (14) Assess Wylie's thesis that "a normal childhood is normally dangerous" in "Safe and Insane". (15) In a companion essay compare what you live by (standards, ideals, goals) with Joyce Cary's "What Men Live By". (16) In what ways does Hazlitt overstate his case in "The Ignorance of the Learned?" (17) Write an essay on The City Personality OR The Rural Prairie Personality as a parallel to Bruce Hutchison's "The Canadian Personality". (18) Which essay in the anthology fitted best into YOUR philosophy of life — and why? (19) Write an essay on "On Being Rich" as a parallel to Theodore Dreiser's "On Being Poor". (20) Views on education have been presented in a number of selections you have studied this year. Choose the writer of one of these and give his probable opinions on the school you are attending. Include his evaluation of the facilities, curriculum and the instruction provided. 123 SENIOB HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH (21) A number of selections studied in Grade X to XII stress, "Live the simple life and be happy". Summarize, and support or challenge, the views presented by one or more writers on the merits of simplicity and living close to nature. C. Poetry — English 30 "If we know what we are doing when we teach poetry then we shall be secure: the rest of our work in English will follow by implication. Poetry is language used for its deepest and most accurate purposes. That more people are writing poetry than reading it, that few pupils go on reading poetry when they leave school, that poetry matters little to the modern world — these arguments of today we must take into account but despise if they are used to discourage us. If, that is, we care at all for our language . . . And if, and this is essential, we like poetry."* Within the context of Holbrook's comments, the following are some observations with respect to the teaching of poetry to academically talented groups. 1. The Anthology More important than the anthology chosen is the recognition of the fact that any anthology used will probably be insufficient for a given class. Teachers are encouraged to ignore the poetry in the anthology which leaves them unmoved and to substitute for it those poems for which they feel some interest and enthusiasm. The mimeograph machine, the opaque projector, and the record player are indispensible aids to the teacher of poetry, since with them it becomes quite possible to present poetry which is not in the text. Care should be talcen in choosing a recording to select the best reading available; this may not be the one given by the poet. 2. The Students' Role The essential factors, teacher enthusiasm and interest, are even more vital qualities in the student reaction. Indeed, the importance of providing scope for student preference increases when one is dealing with matriculation students because they are also more academically independent. Provision for student preference also provides for growth of the ultimate talent — the ability to make critical judgments about poetry. To this end, the following arc suggested: a) Ideally, students might be encouraged to create their own anthologies of poetry composed of poems which they enjoy and one which they might have created. They should be given opportunity to discuss and, if necessary, to defend their poetry and their choices of another's verse. If a loose-leaf notebook is used, the student may remove poetry which no longer interests him. b) Students should present poetry of tlieir choice to the class; subse- quently they could act as leaders for class discussion of the poetry. Alternatively, groups of students could work together in the prep.u.i tion of a poetry session. c) Each student, working either in a small group or as a member of the whole class engage in one depth stuck of a poet's work, (are should 2 Holbrook, English For Maturity, p 63. Cambridge University Press. ]n request for preview from the Branch. Another filmstrip based on Poe's "Gold Bug" illustrates how pictures can assist in teaching a short story. The Gold Rue in dramatized form may be ordered from the branch's Tape Library (126-T1). An excellent sound filmstrip set (4 filmstrips with records') What To Look for In Drama and Fiction, will prove useful not only for the section on stories, but the novel and drama areas of study as well. Available for preview from the Branch, this set could be a useful one to have in the school throughout the year. 2. ESSAYS Essays, by their very nature do not lend themselves to audio-visualization. However, an interesting film. Mark Twain (l"k- 1-180), gives a background for 130 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH his life story and could be shown in connection with a class discussion of the excerpt from his autobiography. 3. POETRY Poetry speaks for itself, although background information presented visually can make the poet's work more lively and easier to understand. A number of films might be used to help in diis respect. Three older ones in the Background of Literature series make students acquainted with the land in which writers worked: England (Tk-552); Scotland (Tk-688); and France (Tk-743). One film presents a selection of works by Tennyson, Keats, Words- worth, Shelly, and Shakespeare, against a background of the actual scenes as the poets saw them. Literature Appreciation — English Lyrics (T-773). There is a most useful filmstrip related to the work of Chaucer (P-3199), which uses old original illustrations. Other filmstrips which have some enrichment possibilities include the following: The Lake District (P-1786); Daffodils (Pk-3203); Gray's Elegy (P-1455); John Greenleaf Whittier (Pk - 2816); Henry Wadsworth Longfellow (Pk-2910); Edgar Allen Poe— Poet and Story Teller (Pk-2710); Pauline Johnson (Pk-2564); Morte d' Arthur (Pk-4029). A number of selections together with background information are available on tape from the Audio Visual Services Branch. While prepared originally for Grade 10 English, tape number (300-T1) contains selections from many of the writers represented in the English 30 anthology. Tapes are available on the life and works of John Keats (9-T2b); Vachel Lindsay (311-T1); Carl Sandburg (298-T1), this is a monologue by Carl Sandburg himself, and Robert Frost (83-Tlb) is another half hour tape which was made by the author. The Death of the Hired Man (85-T1) the Robert Frost poem, has been dramatized on another tape. Robert Browning's dramatic monologue, Andrea del Sarto is performed on tape number (84-Tlb). A discussion which deals with the purpose and intent of poetry can be heard on a tape entitied What is Poetry? (160-T2). 4. NOVELS A number of the novels listed are available in 16 mm. form. Three of these: Lord Jim, 1984, and Grapes of Wrath are available from Canfilm Screen Service Limited, Room 201, 2312 - 4 Street S.W., CALGARY. A film of general teaching interest is The Novel, What It Is, What It Is About (Tk-1831), available from the Audio Visual Services Branch. The filmstrip plus record series What To Look for in Drama and Fiction (Pk-4424-4427) is very useful in analyzing plotting devices. Some of the novels alluded to in this filmstrip are on the list, but the information is general enough to apply to any novel. The headings include: The Use of the Title, Foreshadowing and Prophecy, The Symbol, and The Transgression. Other films which might provide enriching experiences are the following: Charles Dickens — Characterization (T-1568) Tales From Dickens— Uriah Heep, Miss Haversham (T-1826 - 1827) Each Man's Son (McLennan) (T-1685) Les Miserables — Characterization (T-565) The school broadcast section of the Branch has interviewed a number of Alberta novelists who describe how they prepare their work. While all of 131 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH the novels are for younger students, teachers may find the discussions valuable by relating them to other novelists and their work for more mature readers. The Boy in Buckskins, Iris Allen (36-T1) Red Cross Nurse, Barbara Villy Cormack (36-Tlb) Sukanabi, Don R. King (55-Tlb) Red River Adventure, Dr. J. W. Chalmers (35-T2b) The Map Maker, Kerry Wood (36-T2) 5. DRAMA There is a wealth of audio-visual material available especially for the teaching of Shakespeare. The following are the most significant: England of Elizabeth (Tk-1842) The Poet's Eye— Shakespeare (Tk-2001) Shakespeare — Background (Tk-790) Shakespeare's Theatre (Tk-911) William Shakespeare (T-1160) Scenes from Shakespeare plays: Hamlet (Tk-1432 - 1433 - 1434 - 1435) Hamlet (Tk-1670 - 1671 - 1672 - 1673) Macbeth (T-233, T-1448) Julius Caesar (T-232) Filmstrips have also been produced in abundance on Shakespeare, his times, his life, and his work. Those available for preview from the Audio Visual Services Branch are listed below: Elizabethan Times: The Theatre and the Players (Pk-3055) Home of Shakespeare (P-284) The Plot (Pk-4354) Plots and Analysis (Pk-4355) Life In Elizabethan London (Pk-3292) Midsummer Night's Dream, A (Pk-4451) Prologue to the Globe Theatre (Pk-3681) The Playhouse Comes to London (Pk-3682) The Globe Theatre: Design & Construction (Pk-3683) A Day At The Globe Theatre (Pk-3684) Shakespeare's Theatre (P-1200) As You Like It (P-1201) Hamlet (P-1202) Henry V (P-1203) Macbeth (P-1204) Romeo & Juliet (P-1206) The following sound tapes will also prove useful in the teaching of Shake- speare's plays: Taming of the Shrew (87-T2b) Hamlet (297-T1) Henry IV, Parts 1 and 2 (309-T1) Julius Caesar (308-T2) Macbeth (109-T1, 109-Tlb) Merchant of Venice (308-T2) Romeo & Juliet (96-T1) Romeo & Juliet (177 Tl, 177-Tlb) Introduction to Shakespeare (41-T1) Shakespearean Plot, The (41-Tlb) How Shakespeare Uses Words (42-T1) Tribute To Shakespeare (313-T1) 32 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH A number of programs were made especially for the School Broadcast section of the Audio Visual Services Branch by Professor Gordon Peacock, of the Department of Drama, University of Alberta. The series, while intended for Junior and Senior high school drama students has relevance to a study of drama as literature. The following is a list of these tapes: Barnstorming in the Middle Ages (55-T2b) Production Then and Now (56-T1) Actor Prepares, The (56-T1) Let's Improvise (21-T1) Play's The Thing, The (56-T2b) Theatre in the Time of Queen Elizabeth (113-Tlb) On Stage, Actors (113-T2b) Building the Character (114-T1) The Curtain Rises (21-T2) Tape recordings may also be obtained from the Branch of two one-act plays, Trifles (304-T2); and Twelve Pound Look (301-T2b). 6. LANGUAGE The teacher who is looking for assistance in teaching language skills, or wishes to provide materials for students to study on their own, will find many sug- gestions in the following list of films and filmstrips, which may be ordered from the Audio Visual Services Branch: Films for students and teacher: How To Write A Term Paper (T-569) How To Judge Facts (T-595) How To Prepare A Class Report (T-1237) Budding An Outline (T-583) Improve Your Spelling (T-913) Look It Up (Dictionary) (T-896) Writing A Good Paragraph (T-1720) Effective Listening (T-1847) Filmstrips for students and teachers: How To Prepare A Speech (P-1344) Aids In Writing and Reading (library tools) (Pk-3536) Report Writing 4 filmstrips (Pk-3961 - Pk-3964) Writing An Opening Paragraph (Pk-3688) Organizing An Outline (Pk-3689) How To Write A Narrative Paper (Pk-3940 - Pk-3945) Paragraph, The: Developing A Topic (Pk-3924) Articles on Plays, Poetry and Prose in the ENGLISH JOURNAL of interest to Alberta Senior High School teachers of English Wuthering Heights, April 1959, page 175. Cry the Beloved Country, December 1962, page 609. Silas Marner, December 1962, page 647. The Scarlet Letter, October 1962, page 449. The Old Man and the Sea, October 1962, page 459. Romeo and. Juliet and West Side Story, October 1962, page 484. Blake's "The Lamb" and "The Tiger", November 1962, page 536. 133 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH E. A. Robinson's "New England", November 1963, page 592. Gulliver's Travels, November 1963, page 579. The Scarlet Letter, October 1964, page 528. The Pearl, January 1965, page I. The Return of the Native, March 1965, page 217. "The Secret Life of Walter Mitty", April 1965, page 310. An Enemy of the People, October 1965, page 626. The Odyssey, November 1965, page 694. "How to Read a Victorian Novel", November 1965, page 741. "Semantics and Thomas Hardy", November 1965. David Copperficld, December 1965, page 789. Lord of the Flies, January 1966, page 86. Animal Farm, January 1966, page 86. "Reowulf's English", February 1966, page 180. Eliot's "Prufrock", February 1966, page 205. The Scarlet Letter, October 1966, page 885. A Man for All Seasons, November 1966, page 1006. Lord Jim, November 1966, page 1039. "Albee and Absurdists", November 1966, page 1045. "Steinbeck and Hemingway: An Analysis of Themes", January 1967, page 60. "Tintem Abbey", March 1967, page 384. "The Cask of Amontillado", March 1967, page 461. Subscriptions to the ENGLISH JOURNAL Canadian single copy annual subscription, including postage: $7.48, September through May. (Note: Prices subject to change without notice.) National Council of Teachers of English, 508 South Sixth Street, Champaign, Illinois, U.S.A. Articles in THE ENGLISH TEACHER applicable to high school English. "Contemporary Canadian Poetry", June 1961, page 96. "Teaching the Novel in Senior Grades", June 1962, page 34. "The Short Story", June 1963, whole issue devoted to The Short Story. Teaching the Novel", October 1965, page 8. A Raisin in the Sun, May 1966, page 31. Cry, the Beloved Country, May 1966, page 38. Teahouse of the August Moon, May 1966, page 38. 134 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH THE ENGLISH TEACHER is a publication of the English Council of the Alberta Teacher's Association. Copies are mailed to English Council members throughout the school year. Membership in English Council: Annual Dues $5.00 to be forwarded to Jack McFetridge, Information Officer, Alberta Teacher's Association, 11010 - 142 Street, Edmonton, Alberta. SECONDARY REFERENCES FOR HIGH SCHOOL ENGLISH Drama A list of secondary, resource-texts primarily for the use of teachers but, in many cases, useful to Grade XII students as well. The majority of items in Part II are paperbacks listed in "Paperbound Book Guide", 1967. I. REFERENCE WORKS Baker, Blanch M. Theatre and Allied Arts. (H. W. Wilson), 1952 Bartlett, John. Complete Concordance . . . to . . . the Dramatic Works of Shakespeare. (St. Martins Press), 1960. Bateson, F. W. A Guide to English Literature. (N.Y., Doubleday Anchor) 1965 Books for College Libraries. (Chicago: American Library Association), 1967 — about 50,000 titles; useful guide to building up libraries. Hartnoll, Phyllis. Oxford Companion to the Theatre. 2nd. ed., 1957 Ottemiller, John H. Index to Plays in Collections. (Scarecrow Press), 1964 Smith, Gordon R. A Classified Shakespeare Bibliography, 1936-58. (Perm. State U. Press), 1963 H. MONOGRAPHS AND COLLECTIONS OF ESSAYS ABEL, Lionel. Metatheatre. (N.Y., Hill & Wang Dramabook), 1963 BENTLEY, Eric. In Search of Theatre. (Random House, Vintage), 1963 BENTLEY, Eric. What is Theatre? (Boston: Beacon Press), 1956 BENTLEY, Eric. The Dramatic Event. (Boston: Beacon Press), 1958 BENTLEY, Eric. Playwright as Thinker. (N.Y., Meridian Books), 1955 CLARK, Barrett H. European Theories of Drama. Rev. ed. (Crown), 1965 BARNETT, S., BERMAN, M., and BURTO, W. Aspects of the Drama. (Boston: Little, Brown). COLE, Toby. Playwrights on Playwriting. (N.Y., Hill & Wang Dramabook) CORRIGAN, R. W. and ROSENBERG, J. L. Context and Craft of Drama. (San Francisco: Chandler). CRUTTWELL, Patrick. The Shakespearean Moment. (N.Y., Random House Vintage). DOWNER, Alan S. American Drama. (N.Y., Thomas Crowell). ELLIS-FERMOR, Una. The Frontiers of Drama. 3rd. ed. (Methuen), 1948 ESSLIN, Martin. Theatre of the Absurd. (N.Y., Doubleday Anchor Book). FERGUSSON, Francis. The Idea of a Theatre. (Doubleday Anchor Book). FOWLIE, Wallace. Dionysus in Paris: A Guide to Contemporary French Theatre. (N.Y., Meridian Books), 1960 FRENZ, Horst. American Playwrights on Drama. (N.Y., Hill & Wang Dramabook) 135 SENIOR III(;iI SCHOOL CURRICULUM GUIDE FOR ENGLISH FUNK & BOOTH (Eds.) Actors Talk About Acting. (N.Y., Hearst Corp., Avon Books) GASSNER, John. Directions in Modern Theatre and Drama. Rev. ed. (N.Y., Holt, Rinehart, Winston), 1965 BRUSTEIN, R. Theatre of Revolt. (Atlantic Monthly Press), Little GRASSNER, John. The Theatre in Our Times. (N.Y., Crown Press). 1955 GORELIK, Mordecai. New Theatres for Old. (Dutton, Everyman Paper- backs ) HUNNINGHER, Benjamin. Origin of the Theatre. (N.Y., Hill & Wang Dramabook) JACOBSEN, J., and MUELLER, W. M. Testament of Samuel Beckett. (As above) KENNER, Hugh. Samuel Beckett. (John Calder), 1962. KERNAN, Alvin B. Character and Conflict: An Introduction to Drama. (N.Y., Harcourt, Brace & World). MERCHANT, W. Moelwyn. Creed and Drama. (Philadelphia: Fortress Press ) NICOLL, Allardyce. British Drama. 5th. ed. (Barnes & Noble). 1963 PEACOCK, Ronald. The Art of Drama. 2nd. imp. (Routledge & Kegan Paul) PRONKO, Leonard C. Avant-Garde: The Experimental Theatre in France. (U. of California Press) SCOTT, Nathan (ed.) Man in the Modern Theatre. (Richmond, Va., John Knox Press) SELDES, Gilbert. The Seven Lively Arts. (A. S. Bames), 1962. SIEGEL, Paul N. His Infinite Variety: Major Shakespearean Criticism since Johnson. (Philadelphia: Lippincott) SHAW, Bernard. Quintessence of Ibsenism. (N.Y., Hill & Wang Drama- book) STYAN, J. L. The Elements of Drama. (Cambridge University Press). 1960 TAYLOR, James R. Anger and After. (Pelican Books). 1963, 1966. TILLYARD, E.M.W. Shakespeare's Problem Plays. (U. of Toronto). 1949 TYNAN, Kenneth. Curtains. (N.Y., Atheneum). 1961 VOS, Nelvin. Drama of Comedy: Victim and Victor. ( Richmond V., John Knox Press) WEIDELI, W. Art of Bertolt Brecht. English version by Daniel Russell. WILLIAMS, Raymond. Drama from Ibsen to Eliot. (Chatto & Windus) YOUNG, Stark. Theatre. (N.Y., Hill and Wang Dramabook). ESSAY ANTHOLOGIES REVIEW: 1. Reinert, Working With Prose, H. Brace 2. Wachner, Ross, Houten, Contemporary American Prose, MacMillan Paper- bark 3. Ni( kcrson, Contemporary Essays, Ginn 4. Ross, Stevens, Man and His World. Dent 5. Bloomfield, Bobbins, Form and Idea, Macmillan paperbacks 6. Kreuzer, Cogan, Literature for Composition, Holt Rineharl & Winston 7. Diltz, Mi Master, Many Winds, Hook II, McClelland & Stewart 136 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH 8. Porter, Prose Pageant, Ryerson 9. Dow, Light from Other Windows, Macmillan 10. Shrodes, Gundy, Approaches to Prose, Macmillan 11. Gordon, Roebuck, Twentieth Century Prose, Clarke, Irwin 12. Donahue, Lougheed, A Second Harvest, Longmans 13. Langford, Daniel, The Open Window, Longmans 14. Gill, Newell, Prose for Senior Students, Macmillan 15. James, Northcott, Shattuck, Kiley, Literature of the World, McGraw Hill TEACHER REFERENCES a. Loban, Ryan & Squire, Teaching Language and Literature, Harcourt Brace b. Hyde, Brown, Composition of the Essay and Teachers Handbook, Addison- Wesley c. Dean and Wilson, Essays on Language and Language Usage, Oxford Univ. Press d. Scargill and Penner, Looking at Language, W. Gage e. Hans Guth, English Today and Tomorrow, Prentice Hall Secondary Materials Short Stories (A) Cerf, B. A.; Great Modern Short Stories; Vintage Books, Random House (For highest level). (B) Cline, L.; The Rinehart Book of Short Stories. (For highest level.) (C) Goodman, R. B.; 75 Short Masterpieces: Stories from the Worlds Literature; Bantam Books. (D) Speare, M. E.; A Pocket Book of Short Stories; Dell. (E) Stegner, W. and M.; Great American Short Stories; Dell. (F) Warrent, R. R.; Erskine, A.; Short Story Masterpieces; Dell. Short story and essay collections in hard covers ( about $2.00 ) : Prose Mostly Modern; McClelland and Stewart. Gordon, J. G.; Roebuck, T. S.; Twentieth Century Prose; Clarke, Irwin. Individual short story collections: Bradbury; The Illustrated Man; The Golden Apples of the Sun Jackson; The Lottery; Avon Poe; The Fall of the House of Usher; Signet Salinger; Nine Short Stories; Bantam Teacher References NOTE: Prices are subject to change. 1. Applegate, M.; When the Teacher Says Write a Story; Harper; 1965; $1.60 2. Fenson, H.; Reading, Understanding, and Writing About Short Stories; Free Press; 1966; $2.95 3. Lenin; G. H.; The Short Story, College Ed.; Harcourt; 1967; $3.95 4. Summers, H. S.; Discussions of the Stort Story; Heath; 1963; $1.80 137 SENIOB HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH ENGLISH REFERENCE BOOKS Hockfield, George Hazo, Samuel Walker, Warren S. Thompson, Lawrence Frye, Northrop Turner, Arlin Bate, Walter J. Leech, Clifford MacKinnon, Ar. and Frye, Northrop Pritchett, V. S. Fontenrose, Joseph Baldanza, Frank Welleck and Warren, A. Pickard, John B. Walser, Richard Magill, Frank Maclver, R. M. American Education Pub. Bassett, J. Greever & Jones Hoey, Edwin et al. Irwin, Keith Nelson, J. R. Ryan, Margaret Strunk, William Suberman, Jack Yates, Elizabeth Bloon, Philbrick et al Harris, L. S. Harcourt, Brace & World Burgess, C. V. Nelms, Henning Sty an Drew, E. Hale, Nancy Liddell, Robert Wright, C. W. Summers, Harrison B. Musgrave, G. M. Roby, R. and Ulanov, B. Watson et al Black, E. and Parry Allen and Clark Everett, Barbara Spears, Monroe PeyTe, Henry Becl>e, Maurice BIu kmoor, H. P. Blair, W. Dcnict/, Peter King, Roma Jr. Henry Adams Hart Crane James Fenimore Cooper William Faulkm r Anatomy of Criticism Nathaniel Hawtliorne Keats Marlowe Learning In Language and Literature The Working Xovelist John Steinbi ck Mark Twain Theory of Literature John Greenleaf Whittier Thomas Wolfe Cyclopedia of Literary Characters Great Moral Dilemmas In Literature, Past and Present 20 Steps To Better Composition Writing With a Purpose The Century Handbook of Writing You Can Write Romance of Wn'ring Writing The Technical Report Teaching The Novel In Paperback Elements of Style Basic Composition Someday You'll Write The Order of Poetry The Nature of English Poetry Teaclicr's Manual For Poetry Discovering Tlie Tiieatre Play Production Elements of Drama The Novel The Realities of Fiction A Treatise on the Novel How To Speak In Public How To Debate Competitive Debate Introduction To Drama Contemporary Drama Aspects of the Short Story Pope To Croce Auden Auden (A Collection of < 'iitu.il Essaj s | Baudelaire ( A Collection of Cut H al Essays) literary Symbolism Form or Paperbacks 138 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH ENGLISH REFERENCE BOOKS (Continued) Broadus, E. Chesterton, G. K. Crawford, Thomas West, Paul Marchand, Leslie Callaghan, Morley Daiches, David Hoffmann, Charles Westbrook, Perry Conrad, Joseph Collins, Philip Harkness, Bruce Danziger & Johnson Collins, Philip Ducan, Douglas Garner, Helen Wellek, Rene Schilling, Bernard Frye, Northrop Williamson, George Drew, Elizabeth Frye, Northrop Williamson, George Haight, Gordon Kenner, Hugh Knovitz and Whicher Volpe, Edmond Paulson, Ronald Mezener, Arthur Fjeldi, Rolf Wilde, Alan Trilling, Lionel Jennings, E. Frye, Northrop Greenberg, and Hepburn Lynen, John Jones-Pryece, David Gross, Seymour Wing, George Hamm, Victor M. Van Doren, Mark Hunter, Jim Hopkins, Gerard The Story of English Browning, Robert Burns: A Study of the Poems and Songs Byron (A Collection of Critical Essays ) Byron's Poetry (A Critical Introduction ) Twayne's World Authors Series Willa Cather Joyce Cary ( Comedy ) Mary Ellen Chase A Reader's Guide To Joseph Conrad Dickens and Education Conrad's Heart of Darkness and the Critics Literary Criticism Dickens and Crime Emily Dickenson (Writers and Critics ) John Donne ( A Collection of Critical Essays ) Dostoevsky ( A Collection of Critical Essays ) Dryden, John ( A Collection of Critical Essays) T. S. Eliot A Reader's Guide to T. S. Eliot T. S. Eliot: The Design of His Poetry T. S. Eliot (Writers and Critics) T. S. Eliot A Century of George Eliot Criticism The Invisible Poet, T. S. Eliot Emerson (A Collection of Critical Essays) A Reader's Guide To William Faulkner Fielding ( A Collection of Critical Essays ) F. Scott Fitzgerald ( A Collection of Critical Essays ) Ibsen (A Collection of Critical Essays) Art and Order: A Study of E. M. Forster E. M. Forster Frost The Return of Eden Robert Frost: An Introduction The Pastoral Art of Robert Frost Graham Green ( Writers and Critics ) A Scarlet Letter Handbook Hardy (Writers and Critics) The Pattern of Criticism Nathaniel Hawthorne Gerard Manley Hopkins ( Literature in Perspective) Priest and Poet The Macmillan Co. Macmillan Pocket Library Oliver & Boyd Prentice-Hall Houghton Mifflin Co. Twayne Publishing Inc. Collier Books The University of Pittsburgh Twayne Publishers Inc. Farrar, Straus & Giroux Macmillan Co. Ltd. Wadsworth Publ. Co. Inc. D. C. Heath & Company Macmillan Co. Ltd. Oliver & Boyd Prentice-Hall Prentice-Hall Prentice-Hall Oliver & Boyd The Noonday Press Charles Schribners Sons Oliver & Boyd The Noonday Press Houghton, Mifflin Co. University Paperbacks Prentice-Hall Farrar, Straus & Giroux Prentice-Hall Prentice-Hall Prentice-Hall University Press — New York New Directions Paperbook Oliver & Boyd University of Toronto Press Holt, Rinehart & Winston Yale University Press Oliver & Boyd Wadsworth Publishing Co. Oliver and Boyd The Bruce Publishing Co. The Viking Press Evans Brothers Ltd. Oxford University Press 139 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH ENGLISH REFERENCE BOOKS (Continued) Steiner, and Eagles Hurrell, J. D. Weigand, Hermann Knight, G. Wilson Edel, Leon James, Henry Tindall, W. Barish, Jonas A. Gray, Ronald Bush, Douglas Keats Lane, Lauriet Spilka, Mark Lettis, R. Morris Duran, Manuel Lynn, Kenneth S. Macy, John Hatfield, Henry Marsden, M. Mason, VV. H. Lewis, R. VV. Falk, Signi Chase, Richard Welland, Dennis Milton, John Moliere Nelson, W. Parry, John Sutton, Walter Richards, I. A. Kern, Edith Crunwald, H. Cwynn, F. and Blotner Shapiro, Charles Smith, Cuy Woodard, Thomas Wart, F. W. Fontenrose, Joseph Tuveson, Ernest Homer ( A Collection of Critical Essays ) Two Modern American Tragedies The Modern Ibsen Ibsen ( Writers and Critics ) Henry James ( A Collection of Critical Essays ) American, English and French Literature A Reader's Guide To James Joyct Ben Jonson Kafka ( A Collection of Critical Essays ) John Keats Keats Literature In Perspective Approaches To Waldcn D. II . 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The Macmillan Company 142 SENIOR HIGH SCHOOL CURRICULUM GUIDE FOR ENGLISH ENGLISH REFERENCE BOOKS (Continued) Rowse, A. Shakespeare, Wm. Shoenbaum, S. Schanzer, Ernest Dowden, Eward Frame, J. D. Smith, G. R. Shakespeare, Wm. Shakespeare, Wm. Spurgion, Caroline Sitwell, Edith Stoll, Elmber Sutherland & Hurstfield Thorndike, Ashley Watt, Hozknecht, Ross Webster, Margaret Wilson, J. D. Wood and Marshall Abrams, M. Ashley, Robert and Moseley Gordon Karl, F. R. Burckhardt, Jacob Bree, Germaine Brombert, Victor Girard, Rene Katchadourian, Sarkis Spiller, Robert Davie, Donald Story, Norah Hartnoll, Phyllis Chase, Richard Watt, Ian Gordon, Caroline Allen, D. and Creeley Friedland, Louis Fogle, Richard Stafford, William Ibsen, H. 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